A SCHOLARLY BOOK REPOSITORY
Finalist, 2018 Miller Williams Poetry Prize
Ya Te Veo takes as its title the name of a mythical tree that eats people. Like the branches of that tree, the poems in this book seem to capture and nourish themselves on a diverse cast of would-be passers-by, drawing their life-force from the resulting synthesis of characters. Among the seized are poets and painters alongside musicians from Garth Brooks to Wu-Tang Clan to the composer Morton Feldman, whose mysterious personality serves as a backdrop in many poems for meditations on intimacy, ethics, and anxiety.
As the phrase “ya te veo” (“I see you”) implies, this is a book interested in revealing what we think is hidden, in questioning the gap inside all of us, a gap between what we feel and what we say and do, making space for our many contradictions.
Like the works of Feldman, these poems focus and recede, experimenting with form in order to accomplish a state of deep concentration. They impersonate sonnets, ghazals, terza rima, monologues, translations, and freestyles, but inexactly, embracing failed imitation as an opportunity to remix the familiar.
The son of a Paraguayan father and a mother from Pennsylvania, Báez grew up in central Illinois as one of the only brown kids on the block—but that didn’t keep him from feeling like a gringo on family visits to Paraguay. Exploring this contradiction as it weaves through experiences of language, self, and place, Báez revels in showing up the absurdities of empire and chafes at the limits of patrimony, but he always reserves his most trenchant irony for the gaze he turns on himself.
Notably, this raucous collection also wrestles with Guaraní, a state-recognized Indigenous language widely spoken in Paraguay. Guaraní both structures and punctures the book, surfacing in a sequence of jokes that double as poems, and introducing but leaving unresolved ambient questions about local histories of militarism, masculine bravado, and the outlook of the campos. Cutting across borders of every kind, Báez’s poems attempt to reconcile the incomplete, contradictory, and inconsistent experiences of a speaking self that resides between languages, nations, and generations.
Yaguareté White is a lyrical exploration of Paraguayan American identity and what it means to see through a colored whiteness in all of its tangled contradictions.
Michelle M. Jacob employs ethnographic case studies to demonstrate the tension between reclaiming traditional cultural practices and adapting to change. Through interviewees’ narratives, she carefully tacks back and forth between the atrocities of colonization and the remarkable actions of individuals committed to sustaining Yakama heritage. Focusing on three domains of Indigenous revitalization—dance, language, and foods—Jacob carefully elucidates the philosophy underlying and unifying each domain while also illustrating the importance of these practices for Indigenous self-determination, healing, and survival.
In the impassioned voice of a member of the Yakama Nation, Jacob presents a volume that is at once intimate and specific to her home community and that also advances theories of Indigenous decolonization, feminism, and cultural revitalization. Jacob’s theoretical and methodological contributions make this work valuable to a range of students, academics, tribal community members, and professionals, and an essential read for anyone interested in the ways that grassroots activism can transform individual lives, communities, and society.
The Yale Critics was first published in 1983. 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.
A heated debate has been raging in North America in recent years over the form and function of literature. At the center of the fray is a group of critics teaching at Yale University—Harold Bloom, Geoffrey Hartman, Paul de Man, and J. Hillis Miller—whose work can be described in relation to the deconstructive philosophy practiced by French philosopher Jacques Derrida. For over a decade the Yale Critics have aroused controversy; most often they are considered as a group, to be applauded or attacked, rather than as individuals whose ideas merit critical scrutiny. Here a new generation of scholars attempts for the first time a serious, broad assessment of the Yale group. These essays appraise the Yale Critics by exploring their roots, their individual careers, and the issues they introduce.
Wallace Martin's introduction offers a brilliant, compact account of the Yale Critics and of their relation to deconstruction and the deconstruction to two characteristically Anglo-American enterprises; Paul Bove explores the new criticism and Wlad Godzich the reception of Derrida in America. Next come essays giving individual attention to each of the critics: Michael Sprinker on Hartman, Donald Pease on Miller, Stanley Corngold on de Man, and Daniel O'Hara on Bloom. Two essays then illuminate "deconstruction in America" through a return to modern continental philosophy: Donald Marshall on Maurice Blanchot, and Rodolphe Gasche on Martin Heidegger. Finally, Jonathan Arac's afterword brings the volume together and projects a future beyond the Yale Critics.
Throughout, the contributors aim to provide a balanced view of a subject that has most often been treated polemically. While useful as an introduction, The Yale Critics also engages in a serious critical reflection on the uses of the humanities in American today.
Roe Cloud’s white-collar activism was entwined with the Progressive Era formation of an Indian professional and managerial class, a Native “talented tenth,” whose members strategically used their contingent entry into arenas of white social, intellectual, and political power on behalf of Indians without such access. His Yale training provided a cross-cultural education in class-structured emotions and individuality. While at Yale, Roe Cloud was informally adopted by a white missionary couple. Through them he was schooled in upper-middle-class sentimentality and incentives. He also learned how interracial romance could jeopardize Indian acceptance into their class. Roe Cloud expanded the range of what modern Indians could aspire to and achieve.
The Yale Corporation, the university’s equivalent to a board of trustees, has been in conflict with its employees and their unions for decades. While partially blaming general economic trends for what they regard as the inhumane system at Yale, contributors to this collection explore the connection between big business and a large university as well as Yale’s choice to operate in a nontraditional, corporate style. An unprecedented collection of essays, this volume provides an in-depth discussion of the history and politics of Yale’s most visible campus conflict.
Contributors. Michael Bérubé, Barbara Ehrenreich, Robin D. G. Kelley, Duncan Kennedy, Cary Nelson, Kathy Newman, Corey Robin, Andrew Ross, Michelle Stephens, John Wilhelm, Rick Wolff
To understand the creation of such a startling place, Frederick Errington and Deborah Gewertz explore the perspectives of the diverse participants that had a hand in its creation. In examining these views, they also consider those of Yali, a local Papua New Guinean political leader. Significantly, Yali features not only in the story of RSL, but also in Jared Diamond's Pulitzer Prize winning world history Guns, Germs, and Steel—a history probed through its contrast with RSL's. The authors' disagreement with Diamond stems, not from the generality of his focus and the specificity of theirs, but from a difference in view about how history is made—and from an insistence that those with power be held accountable for affecting history.
Yam production is concentrated in West Africa, which is responsible for more than 90 percent of the 50 million tons produced annually around the globe. Though the crop can attract high prices, too often its producers live in penury. Regional issues drive up labor costs of food crops because of dependence on obsolete technology. In addition, certain agronomic practices that are peculiar to yam production remain unchanged, and pests and diseases still ravage the crop. Yam in West Africa investigates solutions to these problems with the aim of expanding yam production, increasing sales, helping farmers, and bringing more of this staple food to those who need it. The future of the yam is bright; this book aims to make it more so.
In June of 1863, Col. William P. Sanders led a cavalry raid of 1,300 men from the Union Army of the Ohio through Confederate-held East Tennessee. The raid severed the Confederate rail supply line from Virginia to the Western Theater and made national headlines. Until now, this incredible feat has been relegated to a footnote in the voluminous history of the American Civil War.
In Yankee Commandos, Stuart Brandes presents readers with the most complete account of the Sanders raid to date by using newly discovered and under-explored materials, such as Sanders’s official reports and East Tennessee diaries and memoirs in which Sanders is chronicled. The book presents important details of a cavalry raid through East Tennessee that further turned the tide of war for the Union in the Western Theater. It also sheds light on the raid’s effect on the divided civilian population of East Tennessee, where, unlike the largely pro-secession populations of Middle and West Tennessee, the fraction of enlisted men to the Union cause rose to nearly a quarter.
Colonel Sanders remains an enigma of the American Civil War. (He was a cousin of Confederate president Jefferson Davis, and his father and three brothers donned Confederate gray at the outbreak of the war.) By studying the legend of Sanders and his raid, Brandes fills an important gap in Civil War scholarship and in the story of Unionism in a mostly Confederate-sympathizing state.
The 1942 smash musical hit Yankee Doodle Dandy has long remained a favorite among audiences and film buffs. Ostensibly the story of "Mr. Broadway"—George M. Cohan— the movie evolved in its making into one of Warners' trademark "biopics" and a showcase for the singing and dancing talents of James Cagney.
This book includes the complete screenplay.
In many ways, John H. Black typified the thousands of volunteers who fought for the Union during the Civil War. Born in 1834 and raised on his family’s farm near Allegheny Township, Pennsylvania, Black taught school until he, like many Pennsylvanians, rushed to defend the Union after the attack on Fort Sumter in April 1861. He served with the Twelfth Pennsylvania Cavalry, one of the Union’s most unruly, maligned, and criticized units.Consistently outperformed early in the conflict, the Twelfth finally managed to salvage much of its reputation by the end of the war. Throughout his service, Black penned frequent and descriptive letters to his fiancée and later wife, Jennie Leighty Black. This welcome volume presents this complete correspondence for the first time, offering a surprisingly full record of the cavalryman’s service from 1862 to 1865 and an intimate portrait of a wartime romance.
In his letters, Black reveals his impassioned devotion to the cause, frequently expressing his disgust toward those who would not enlist and his frustration with friends who were not appropriately patriotic. Despite the Twelfth Pennsylvania’s somewhat checkered history, Black consistently praises both the regiment’s men and their service and demonstrates a strong camaraderie with his fellow soldiers. He offers detailed descriptions of the regiment’s vital operations in protecting Unionists and tracking down and combating guerrillas, in particular John Singleton Mosby and his partisan rangers, providing a rare first-person account of Union counterinsurgency tactics in the Lower Shenandoah Valley. In the midst of portraying heated and chaotic military operations, Black makes Jennie a prominent character in his war, illustrating the various ways in which the conflict altered or nurtured romantic relationships.
One of the few compilations of letters by a long-term Yankee cavalry member and the only such collection by a member of the Twelfth Pennsylvania, A Yankee Horseman in the Shenandoah Valley provides new insights into the brutal, confused guerrilla fighting that occurred in northwestern Virginia. Moreover, these letters make a significant contribution toward an emerging consensus that Yankee cavalry—often maligned and contrasted with their celebrated Confederate foes—became a superior fighting force as the war progressed.
David J. Coles, professor of history at Longwood University, is the associate editor of the Encyclopedia of Civil War, coauthor of Sons of Garibaldi in Blue and Gray, and coeditor of the Encyclopedia of the American Civil War.
Stephen D. Engle, professor of history at Florida Atlantic University, is the author of Yankee Dutchman: The Life of Franz Sigel, Don Carlos Buell: Most Promising of All, and Struggle for the Heartland: The Campaigns from Fort Henry to Corinth.
In 1958, angry Venezuelans attacked Vice President Richard Nixon in Caracas, opening a turbulent decade in Latin American–U.S. relations. In Yankee No! Alan McPherson sheds much-needed light on the controversial and pressing problem of anti-U.S. sentiment in the world.
Examining the roots of anti-Americanism in Latin America, McPherson focuses on three major crises: the Cuban Revolution, the 1964 Panama riots, and U.S. intervention in the Dominican Republic. Deftly combining cultural and political analysis, he demonstrates the shifting and complex nature of anti-Americanism in each country and the love–hate ambivalence of most Latin Americans toward the United States. When rising panic over “Yankee hating” led Washington to try to contain foreign hostility, the government displayed a surprisingly coherent and consistent response, maintaining an ideological self-confidence that has outlasted a Latin American diplomacy torn between resentment and admiration of the United States.
However, McPherson warns, U.S. leaders run a great risk if they continue to ignore the deeper causes of anti-Americanism. Written with dramatic flair, Yankee No! is a timely, compelling, and carefully researched contribution to international history.
The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage.
Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image.
The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility.
Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity.
Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
As Murphy shows, an extraordinary multiculturalism sets New England country and western music apart from other regional and national forms. Once segregated at work and worship, members of different ethnic groups used the country and western popularized on the radio and by barnstorming artists to come together at social events, united by a love of the music. Musicians, meanwhile, drew from the wide variety of ethnic musical traditions to create the New England style.
But the music also gave--and gives--voice to working-class feeling. Murphy explores how the Yankee love of country and western emphasizes the western, reflecting the longing of many blue collar workers for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment that they believe neither reflects their experiences nor considers them equal participants in American life.
As Brian C. Wilson describes them in this highly readable and entertaining book, Yankees—defined by their shared culture and sense of identity—had a number of distinctive traits and sought to impose their ideas across the state of Michigan.
After the ethnic label of "Yankee" fell out of use, the offspring of Yankees appropriated the term "Midwesterner." So fused did the identities of Yankee and Midwesterner become that understanding the larger story of America's Midwestern regional identity begins with the Yankees in Michigan.
The history of US imperialism remains incomplete without this consideration of long-overlooked nineteenth-century American commercial and whaling ventures in the Indian Ocean.
Yankees in the Indian Ocean shows how nineteenth-century American merchant and whaler activity in the Indian Ocean shaped the imperial future of the United States, influenced the region’s commerce, encouraged illegal slaving, and contributed to environmental degradation. For a brief time, Americans outnumbered other Western visitors to Mauritius, Madagascar, Zanzibar, and the East African littoral. In a relentless search for commodities and provisions, American whaleships landed at islands throughout the ocean and stripped them of resources. Yet Americans failed to develop a permanent foothold in the region and operated instead from a position of weakness relative to other major colonizing powers, thus discouraging the development of American imperial holdings there.
The history of American concerns in the Indian Ocean world remains largely unwritten. Scholars who focus on the region have mostly ignored American involvement, despite arguments for the ocean’s importance in powering global connections during the late eighteenth and early nineteenth centuries. Historians of the United States likewise have failed to examine the western Indian Ocean because of a preoccupation with US interests in Asia and the Pacific. Failing to understand the scale of American trade in the Indian Ocean has led to a fixation on European commercial strength to the exclusion of other maritime networks. Instead, this book reveals how the people of Madagascar and East Africa helped the United States briefly dominate commerce and whaling.
This book investigates how and why Americans were drawn to the western Indian Ocean years before the United States established a formal overseas empire in the late nineteenth century. Ship logs, sailor journals, and travel narratives reveal how American men transformed foreign land- and seascapes into knowable spaces that confirmed American conceptions of people and natural resources; these sources also provide insight into the complex social and ecological worlds of the Indian Ocean during this critical time.
We join her as she moves through the Tel Aviv streets, avoiding the spots exposed to Arab sniper fire; seeks literature of the wider world in a city awash in translations of Soviet propaganda novels; and navigates the idiosyncrasies of the adults around her. With her, we listen in on political discussions, reminiscences of Russia and wartime Eastern Europe, and Soviet revolutionary songs accompanied by balalaikas. We track the lives of the couple for which the novel is named. Mrs. Yankinton smuggled grenades in her baby’s carriage during Israel’s War of Independence; for years after, she would end every day standing at attention, alone in her living room, when the national anthem came over the radio. Mr. Yankinton, whose arrest as a revolutionary in Soviet Russia foiled his plans to study medicine, became the proud curator of the Zionist visionary Jabotinsky’s complete works.
In this rich mosaic of scenes and characters from postwar Tel Aviv, Shihor muses on the vital significance of the act of remembering and of the search for flashes of magic in the darkness.
The Yanoama are one of the most numerous remaining aboriginal populations of the South American tropical forests, and their large territory constitutes a significant culture region. Although other scholars (anthropologists, geneticists, linguists) have studied this contemporary "neolithic" population, this is the first geographic study of the Yanoama. It is also the only book to focus on the Yanoama highland core area—the Parima massif—and it is the first study to analyze Yanoama horticulture as an integral part of their ecosystem.
The author is concerned principally with the spatial dimension as developed in Yanoama culture, with the spatial patterns of functioning systems, and with Yanoama ecology in this highland habitat. The natural environment is viewed, not as a cultural determinant, but as part of the total ecosystem. Livelihood activities constitute a major organizing theme and, among these, gardening receives the most attention. Frequently classified as a nomadic hunter-gatherer group, the Yanoama are found to have a deep-seated horticultural tradition, and many new data on this tradition are presented. As this study reveals, the Yanoama have created and maintained a cultural landscape that bears their distinctive stamp.
Yaqui regard song as a kind of lingua franca of the intelligent universe. It is through song that experience with other living things is made intelligible and accessible to the human community. Deer songs often take the form of dialogues in which the deer and others in the wilderness world speak with one another or with the deer singers themselves. It is in this way, according to one deer singer, that “the wilderness world listens to itself even today.”
In this book authentic ceremonial songs, transcribed in both Yaqui and English, are the center of a fascinating discussion of the Deer Song tradition in Yaqui culture. Yaqui Deer Songs/Maso Bwikam thus enables non-Yaquis to hear these dialogues with the wilderness world for the first time.
Yaquis live in a portion of their ancestral homeland in Sonora, about 250 miles south of the Arizona border. A long history of displacement and ethnic struggle continues to shape the Yaqui sense of self, as Erickson discovered during the sixteen months that she lived in Potam, one of the eight historic Yaqui pueblos. She found that themes of identity frequently arise in the stories that Yaquis tell and that geography and location—space and place—figure prominently in their narratives.
Revisiting Edward Spicer’s groundbreaking anthropological study of the Yaquis of Potam pueblo undertaken more than sixty years ago, Erickson pays particular attention to the “cultural work” performed by Yaqui women today. She shows that by reaffirming their gendered identities and creating and occupying female-gendered spaces such as kitchens, household altars, and domestic ceremonial spaces, women constitute Yaqui ethnicity in ways that are as significant as actions taken by males in tribal leadership and public ceremony.
This absorbing study contributes new empirical knowledge about a Native American community as it adds to the growing anthropology of space/place and gender. By inviting readers into the homes and patios where Yaqui women discuss their lives, it offers a highly personalized account of how they construct—and reconstruct—their identity.
Tumbaga examines colonial documents and nineteenth-century political literature that produce a Yaqui warrior mystique and reexamines the Mexican Revolution through indigenous culture. He delves into literary depictions of Yaqui battalions by writers like Martín Luis Guzmán and Carlos Fuentes and concludes that they conceal Yaqui politics and stigmatize Yaqui warriorhood, as well as misrepresent frequently performed deer dances as isolated exotic events.
Yaqui Indigeneity draws attention to a community of Chicana/o writers of Yaqui descent: Chicano-Yaqui authors such as Luis Valdez, Alma Luz Villanueva, Miguel Méndez, Alfredo Véa Jr., and Michael Nava, who possess a diaspora-based indigenous identity. Their writings rebut prior colonial and Mexican depictions of Yaquis—in particular, Véa’s La Maravilla exemplifies the new literary tradition that looks to indigenous oral tradition, religion, and history to address questions of cultural memory and immigration.
Using indigenous forms of knowledge, Tumbaga shows the important and growing body of literary work on Yaqui culture and history that demonstrates the historical and contemporary importance of the Yaqui nation in Mexican and Chicana/o history, politics, and culture.
In this revised edition of her groundbreaking work, Hu-DeHart reviews and reflects on the growth in scholarship about the Yaqui, including advances in theoretical frameworks and methodologies on borderlands, transnationalism, diaspora, and collective memory that are especially relevant to their history.
Relatively few people in America build their own homes, but many yearn to make the places they live in more truly their own. Yard Art and Handmade Places profiles twenty homemakers who have used their yards and gardens to express their sense of individuality, to maintain connections to family and heritage, or even to create sacred spaces for personal and community refreshment and healing. Jill Nokes, an authority on native plants and ecological restoration, traveled across the state of Texas, seeking out residents who had transformed their yards and gardens into oases of art and exuberant personal expression. In this book, she presents their stories, told in their own words, about why they created these handmade places and what their yard art has come to mean to them and to their communities.
Rather than viewing yard art as a curiosity or oddity, Nokes treats it as an integral part of home-making, revealing how these places become invested with deep personal or social meaning. Yard Art and Handmade Places celebrates the fact that, despite the proliferation of look-alike suburbs, places still exist where people with ordinary means and skills are shaping space with their own hands to create a personal expression that can be enjoyed by all.
The Yardbirds were trailblazers in the rapid development of pop music in Britain between 1963 and 1968. With members including Eric Clapton, Jeff Beck, and Jimmy Page, they helped to set the basic template of what has been known ever since as rock music and gave rise to one of the most commercially successful bands of all time: Led Zeppelin. Peter Stanfield situates the band in the rise of British R&B and the tumult of the psychedelic era. Obsessively detailed about both the band and 1960s pop culture, this is the book fans of the Yardbirds have always needed.
As archaeologists peel away the jungle covering that has both obscured and preserved the ancient Maya cities of Mexico and Central America, other scholars have only a limited time to study and understand the sites before the jungle, weather, and human encroachment efface them again, perhaps forever. This urgency underlies Yaxchilan: The Design of a Maya Ceremonial City, Carolyn Tate's comprehensive catalog and analysis of all the city's extant buildings and sculptures.
During a year of field work, Tate fully documented the appearance of the site as of 1987. For each sculpture and building, she records its discovery, present location, condition, measurements, and astronomical orientation and reconstructs its Long Counts and Julian dates from Calendar Rounds. Line drawings and photographs provide a visual document of the art and architecture of Yaxchilan.
More than mere documentation, however, the book explores the phenomenon of art within Maya society. Tate establishes a general framework of cultural practices, spiritual beliefs, and knowledge likely to have been shared by eighth-century Maya people. The process of making public art is considered in relation to other modes of aesthetic expression, such as oral tradition and ritual. This kind of analysis is new in Maya studies and offers fresh insight into the function of these magnificent cities and the powerful role public art and architecture play in establishing cultural norms, in education in a semiliterate society, and in developing the personal and community identities of individuals.
Several chapters cover the specifics of art and iconography at Yaxchilan as a basis for examining the creation of the city in the Late Classic period. Individual sculptures are attributed to the hands of single artists and workshops, thus aiding in dating several of the monuments. The significance of headdresses, backracks, and other costume elements seen on monuments is tied to specific rituals and fashions, and influence from other sites is traced. These analyses lead to a history of the design of the city under the reigns of Shield Jaguar (A.D. 681-741) and Bird Jaguar IV (A.D. 752-772).
In Tate's view, Yaxchilan and other Maya cities were designed as both a theater for ritual activities and a nexus of public art and social structures that were crucial in defining the self within Maya society.
Harouna and Stoller would meet in Harlem, at a bustling African market where Harouna built a life as an African art trader and Stoller was conducting research. Moving from Belayara in Niger to Silver Spring, Maryland, and from the Peace Corps to fieldwork to New York, Stoller recounts their separate lives and how the threat posed by cancer brought them a new, profound, and shared sense of meaning. Combining memoir, ethnography, and philosophy through a series of interconnected narratives, he tells a story of remarkable friendship and the quest for well-being. It’s a story of difference and unity, of illness and health, a lyrical reflection on human resiliency and the shoulders we lean on.
Ye Berlyn Tapestrie adapts the format of the Bayeux Tapestry to depict Kaiser Wilhelm II’s invasion of Luxembourg and Belgium. Hassall takes every opportunity to lampoon the German army, who are seen looting homes, marching shamefully through the streets behind women and children, drinking copious amounts of wine, and producing gas from sauerkraut and Limburger cheese. With comic inventiveness, Hassall has appended to the borders of the original Bayeux Tapestry stereotypical objects which the British public would have associated their enemy, from schnitzel to sausages, pilsners, and wild boar.
A fascinating example of war-induced farce, Ye Berlyn Tapestrie became itself a source of inspiration for later works, including wildly popular parodies of World War II in the Daily Mail and New Yorker. More recently, award-winning cartoonist and journalist Joe Sacco has adopted the format for his The Great War, which chronicles the first day of the Battle of the Somme. The Tapestrie is here presented in its entirety along with an introduction that sets out the historical conditions of its creation.
Modernity remade much of the world in the late nineteenth and early twentieth centuries and was nowhere more transformational than in the American South. In the wake of the Civil War, the region not only formed new legal, financial, and social structures, but citizens of the South also faced disorienting uncertainty about personal identity and even gender itself. Ye That Are Men Now Serve Him traces the changes in southern gender roles during the New South period of 1877–1915 and demonstrates that religion is the key to perceiving how constructions of gender changed.
The Civil War cleaved southerners from the culture they had developed organically during antebellum decades, raising questions that went to the very heart of selfhood: What does it mean to be a man? How does a good woman behave? Unmoored from traditional anchors of gender, family, and race, southerners sought guidance from familiar sources: scripture and their churches. In Ye That Are Men Now Serve Him, Colin Chapell traces how concepts of gender evolved within the majority Baptist and Methodist denominations as compared to the more fluid and innovative Holiness movement.
Grounded in expansive research into the archives of the Southern Baptist Convention; Methodist Episcopal Church, South; and the Holiness movement, Chapell’s writing is also enlivened by a rich trove of primary sources: diaries, sermons, personal correspondence, published works, and unpublished memoirs. Chapell artfully contrasts the majority Baptist and Methodist view of gender with the relatively radical approaches of the emerging Holiness movement, thereby bringing into focus how subtle differences in belief gave rise to significantly different ideas of gender roles.
Scholars have explored class, race, and politics as factors that contributed to contemporary southern identity, and Chapell restores theology to its intuitive place at the center of southern identity. Probing and illuminating, Ye That Are Men Now Serve Him offers much of interest to scholars and readers of the South, southern history, and religion.
Written as a long poem, The Year is Espedal’s riveting stream of consciousness—profound, edgy, sometimes manic, but always intensely intimate.
The Year takes us on a journey into how nature transforms across twelve months, each chapter focusing on a specific month’s natural events, from spring’s beginning through winter’s end. It opens with an overview of our evolving understanding of time and nature, from ancient astronomy to the present, and concludes with a chapter on the impact of climate change. Spike Bucklow draws on both modern ecological studies and historical naturalists such as Aristotle, Gilbert White, Thoreau, and Aldo Leopold. Poetic reflections from Ovid, Shakespeare, John Clare, and William Wordsworth enrich the narrative, offering further insights into nature’s changes. Blending modern science with traditional wisdom, The Year provides a positive perspective on ecological, global, and personal change, appealing to those interested in ecology, astrology, and the history of science.
Acclaimed boxing writer Thomas Hauser admires the sweet science, but he also recognizes and confronts its problems. His essays here portray the sport in all its glory and gore, its grace and disgrace.
Hauser tracks the effects of big money on the sport, exposes corruption at the highest levels, and examines the emotional links between the September 11 attack on America and the way we experience the violence of boxing. He follows the biggest fighters and the most important fights through 2001 into the early months of 2002. He also depicts the broadcasters, government regulators, and others-the people behind the scenes who shape boxing without ever taking a punch. We meet fighters such as Lennox Lewis, Mike Tyson, and Bernard Hopkins, and non-combatants like ringside physician Margaret Goodman, trainer Eddie Futch, and the powers that be at HBO.
Praise for Thomas Hauser’s writing about professional boxing:
New York Times: Incomparable and indispensable.
Washington Post: Brilliantly crafted.
New York Daily News:The best writing so far on the business of boxing.
Boxing Collectors’ News: A. J. Liebling’s current-day successor.
Ring Magazine: No one has ever done it better.
Some essays consider the role of “swing” Justices Sandra Day O’Connor and Anthony Kennedy within a Court that divides 5–4 more than any other group of Justices in the nation’s history. Others examine the political reaction to and legal context of the Court’s Lawrence v. Texas decision declaring a Texas law criminalizing homosexual sodomy unconstitutional. Contributors analyze the Court’s rulings on affirmative action and reassess its commitment to states’ rights. Considering the Court’s practices, one advocate explores the use and utility of amicus curiae, or “friend of the court” briefs, while another reflects on indications of an increased openness by the Court to public scrutiny. Two advocates who argued cases before the Court—one related to hate speech and the other to a “three strikes and you’re out” criminal statute—offer vivid accounts of their experiences. Intended for general readers, A Year at the Supreme Court is for all those who want to understand the Rehnquist Court and its momentous 2002–03 term.
Contributors
Erwin Chemerinsky
Neal Devins
Davison M. Douglas
David J. Garrow
Dahlia Lithwick
Tony Mauro
Carter Phillips
Ramesh Ponnuru
Jeffrey Rosen
David G. Savage
Rodney A. Smolla
Stuart Taylor Jr.
W. Scott Olsen and Bret Lott invited a dozen friends to consider one particular calendar month in the place they call home. The result is A Year in Place, a captivating collection of new writing by twelve eminent American writers.
More than a montage of voices and experiences, A Year in Place illustrates, as Olsen and Lott explain in their introduction, the trends in American thinking about who we are and what we care about. Rick Bass takes us to the Yaak Valley of Montana in June, where fawns are arriving, "newly-emerged, knocked-legged and groggy, legs still unfolding from that long sleeping passage." Peggy Shumaker explores the special social and cultural time that is March in Fairbanks, Alaska, where a long winter has whetted the psychic despair of inhabitants who find in the "sky’s unbearable brightness . . . a waking pain beyond endurance." Michael Martone transports us through memory to Indiana in the 1950s where each May a blimp "yawed and floated up," wallowing above a suburban neighborhood on its way to the Indianapolis 500.
These and nine other contributions yield an unforgettable book about "the places we find ourselves blessed enough to be."
The cases heard by the Surpreme Court are, first and foremost, disputes involving real people with actual stories. The accidents and twists of circumstance that have brought these people to the last resort of litigation can make for compelling drama. The contributors to this volume bring these dramatic stories to life, using them as a backdrop for the larger issues of law and social policy that constitute the Court’s business: abortion, separation of church and state, freedom of speech, the right of privacy, crime, violence, discrimination, and the death penalty. In the course of these narratives, the authors describe the personalities and jurisprudential leanings of the various Justices, explaining how the interplay of these characters and theories about the Constitution interact to influence the Court’s decisions.
Highly readable and richly informative, this book offers an unusually clear and comprehensive portrait of one of the most influential institutions in modern American life.
In her intimate investigation of the “year in white,” Carr draws on fifty-two in-depth interviews with other participants, an online survey of nearly two hundred others, and almost a decade of her own ethnographic fieldwork, gathering stories that allow us to see how cultural newcomers and natives thought, felt, and acted with regard to their initiation. She documents how, during the iyawo year, the ritual slowly transforms the initiate’s identity. For the first three months, for instance, the iyawo may not use a mirror, even to shave, and must eat all meals while seated on a mat on the floor using only a spoon and their own set of dishes. During the entire year, the iyawo loses their name and is simply addressed as “iyawo” by family and friends.
Carr also shows that this year-long religious ritual—which is carried out even as the iyawo goes about daily life—offers new insight into religion in general, suggesting that the sacred is not separable from the profane and indeed that religion shares an ongoing dynamic relationship with the realities of everyday life. Religious expression happens at home, on the streets, at work and school.
Offering insight not only into Santería but also into religion more generally, A Year in White makes an important contribution to our understanding of complex, dynamic religious landscapes in multicultural, pluralist societies and how they inhabit our daily lives.
Concentrating on Iowa’s tallgrass prairie, Kurtz also points his viewfinder toward the great variety of natural habitats in the eastern United States. Arranged chronologically throughout the year, the fifty-five color photos and their accompanying narratives rotate through the seasons like a nature film. The winter months showcase a frost-covered white-tailed deer, cedar waxwings feeding on winter apples, a muskrat on the surface of an icy pond, and dune-like snowdrifts. Kurtz’s palette warms up in springtime with stunning photos of Virginia bluebells, fox cubs, juvenile chipmunks, and ruddy ducks. Summer brings a host of butterflies, frogs, and goldfinches as well as blooming prairie plants. The colors become more subdued in fall with the change in light, revealing the rich hues of Indian grass and big bluestem and the subtle plumage of migrating warblers.
Just as Kurtz’s Practical Guide to Prairie Reconstruction offers an indispensable manual for individuals and land managers working to create a diverse prairie community, so does A Year of Iowa Nature point the way toward a sincere, month-by-month appreciation of the natural world around us.
So began the Hollars family’s year of plenty—a cancer diagnosis on top of the ongoing COVID pandemic, then feelings of falling short as parents, partners, and people. While Hollars traces his family’s daily devastations alongside his father-in-law’s decline, he recounts the small mercies along the way: birthdays, campfires, fishing trips, kayaking, and fireflies. As he, his wife, Meredith, and their three young children grapple with how best to say goodbye to the person they love, they are forced to reassess their own lives. How can we make the most of our time, they wonder, when time feels so short?
Written in vignettes and accompanied by photographs and family interviews, Year of Plenty provides a poignant and unflinching account of how death separates us not only from the people we love but from places and memories too. Hollars explores how death’s all-consuming weight has the potential to fracture—rather than strengthen—even those relationships we think we know the best. Ultimately, he cracks wide personal moments from his own life and allows the world to peer in.
When her husband dumps her for an old girlfriend and sets all of Peachland, South Carolina, gossiping, Janey Daniels has to get away—far away—for a "sabbatical" year. She flees to Burlington, Vermont, home of Aunt May, her mother's only living relative. There she adopts Beulah, a Labrador puppy in training to become a companion dog for the blind. Not for a moment does Janey suspect that this "year of the dog" will change her life forever.
Shelby Hearon is an acknowledged master at illuminating the nuances of relationships. In Year of the Dog, she explores the surprising ways that the heart heals after a betrayal. While Janey is training Beulah, Beulah leads Janey to a new love, James Maarten, a smart, "fidgety" teacher they meet at the dog park. As Janey soon discovers, James has suffered a betrayal of his own that makes it hard for him to open up and trust her with even the smallest details of his past. While Janey tries to help James, she also reaches out to her enigmatic Aunt May, a retired librarian reputed to be the friend, perhaps even the lover, of popular mystery writer Bert Greenwood. When Janey attempts to solve the twin mysteries of why her great aunt has distanced herself from the family—and what her true relationship is with Bert Greenwood—Beulah provides the clues that lead Janey to uncover the secrets of her aunt's life. By the time Beulah's stay with Janey comes to an end, the people whose lives she's linked will discover that healing and reconciliation can come in the most unexpected ways.
This seminal work chronicles George B. Schaller’s two years of travel and observation of gorillas in East and Central Africa in the late 1950s, high in the Virunga volcanoes on the Zaire-Rwanda-Uganda border. There, he learned that these majestic animals, far from being the aggressive apes of film and fiction, form close-knit societies of caring mothers and protective fathers watching over playful young. Alongside his observations of gorilla society, Schaller celebrates the enforced yet splendid solitude of the naturalist, recounts the adventures he experienced along the way, and offers a warning against poaching and other human threats against these endangered creatures. This edition features a postscript detailing Schaller’s more recent visits with gorillas, current to 2009.
“Whether the author is tracking gorillas, slipping past elephant herds on narrow jungle paths, avoiding poachers’ deadfalls, or routing Watusi invaders, this is an exciting book. Although Schaller feels that this is ‘not an adventure book,’ few readers will be able to agree.”—Irven DeVore, Science
Winner of the 2005 Thomas Fleming Award for the Best Book in American Revolutionary War History
Finalist for the Army Historical Foundation Distinguished Writing Award
After two years of fighting, Great Britain felt confident that the American rebellion would be crushed in 1777, the "Year of the Hangman." Britain devised a bold new strategy. Turning its attention to the colonial frontiers, especially those of western New York, Pennsylvania, and Virginia, Britain enlisted its provincial rangers, Tories, and allied warriors, principally from the Iroquois Confederacy, to wage a brutal backwoods war in support of General John Burgoyne's offensive as it swept southward from Canada in an attempt to cut the colonies in half, divert the Continental Army, and weaken its presence around British-occupied New York City and Philadelphia.
Burgoyne's defeat at Saratoga sent shock waves through the British command. But the efforts along the frontier under the direction of Sir John Johnson, Colonel John Butler, and the charismatic Mohawk leader, Joseph Brant, appeared to be impairing the American ability to conduct the war. Destroying Patriot settlements and farms across hundreds of miles of frontier, the British and Indian forces threatened to reduce Continental army enlistment, and more importantly, precious food supplies. Following the massacres at the well-established colonial settlements of Wyoming, Pennsylvania, and Cherry Valley, New York, the Continental Congress persuaded General George Washington to conduct a decisive offensive to end the threat once and for all. Brewing for years, the conflict between the Iroquois and colonists would now reach its deadly climax.
Charging his troops "to not merely overrun, but destroy," Washington devised a two-prong attack to exact American revenge. The largest coordinated American military action against American Indians in the war, the campaign shifted the power in the east, ending the political and military influence of the Iroquois, forcing large numbers of loyalist to flee to Canada, and sealing Britain's fateful decision to seek victory in the south. In Year of the Hangman: George Washington's Campaign Against the Iroquois, historian Glenn F. Williams recreates the riveting events surrounding the action, including the checkered story of European and Indian alliances, the bitter frontier wars, and the bloody battles of Oriskany and Newtown.
From Paris to Peking, from Saigon to Washington, the pillars of the postwar world tottered on the brink of collapse in 1968. Year of the Heroic Guerrilla is the first global analysis of that universal upheaval.
Daniels vividly depicts the great crises of that era: the Tet offensive and the abdication of Lyndon Johnson; the denouncement of the counterculture; the fissuring of the civil rights movement and the assassination of Martin Luther King, Jr.; the student revolt at Columbia University; the May uprising in France that nearly overthrew the Fifth Republic; the "cultural revolution" in China; the chilling of the Prague Spring by the Soviet army; and, finally, the convention and riots in Mayor Daley's Chicago, signaling the downturn of the revolutionary spirit in America.
Introduced pig populations have wreaked havoc on ecosystems the world over. Non-native to the Western Hemisphere, pigs originally arrived in the southeast with De Soto's entrada and in the Hawaiian Archipelago on the outriggers of South Pacific islanders. In America feral hogs are considered pests and invaders because of their omnivorous diet and rooting habits that destroy both fragile native species and agricultural cropland.
Appealing to hunters and adventure readers for its sheer entertainment, Year of the Pig will also be valuable to farmers, land managers, and environmentalists for its broad information and perspective on the topic.
Winner of the FC2 Ronald Sukenick Innovative Fiction Prize
Marc Anthony Richardson's Year of the Rat is a poignant and riveting literary debut narrated in an unabashedly exuberant voice.
In Year of the Rat, an artist returns to the dystopian city of his birth to tend to his invalid mother only to find himself torn apart by memories and longings. Narrated by this nameless figure whose rants, reveries, and Rabelaisian escapades take him on a Dantesque descent into himself, the story follows him and his mother as they share a one-bedroom apartment over the course of a year.
Despite his mother’s precarious health, the lingering memories of a lost love, an incarcerated sibling, a repressed sexuality, and an anarchic inability to support himself, he pursues his dream of becoming an avant-garde artist. His prospects grow dim until a devastating death provides a painful and unforeseeable opportunity. With a voice that is poetic and profane, ethereal and irreverent, cyclical and succinct, he roams from vignette to vignette, creating a polyphonic patchwork quilt of a family portrait.
In her second collection of poems, Lee Ann Roripaugh probes themes of mixed-race female identities, evoking the molting processes of snakes and insects who shed their skins and shells as an ongoing metaphor for transformation of self. Intertwining contemporary renditions of traditional Japanese myths and fairy tales with poems that explore the landscape of childhood and early adolescence, she blurs the boundaries between myth and memory, between real and imagined selves. This collection explores cultural, psychological, and physical liminalities and exposes the diasporic arc cast by first-generation Asian American mothers and their second-generation daughters, revealing a desire for metamorphosis of self through time, geography, culture, and myth.
Nan and her four-year-old granddaughter Jane are taking their first airplane trip together, flying from Seattle to the East Coast. But this is no ordinary excursion. Nan is abducting Jane.
Nan's own daughter, Alex, believes Jane's father has been sexually abusing her, and she's asked Nan to take her away, to hide her. But when she and Jane arrive in Providence, Rhode Island, things begin to go wrong. The old friend whom Nan expected to stay with has vanished. Her son-in-law is on her trail. And Alex disappears.
"I'm too old for this!" Nan thinks, in furious, self-pitying despair. She wasn't a good wife; she wasn't a good mother. Now she's stranded in a strange city, without friends or money or even her own identity, in sole charge of a very unhappy little girl. When her new life offers new friends, new work, and even a new lover, she must decide whom to trust.
The Year She Disappeared explores the possibility—and the price—of late blooming love. Will the trials Nan faces during her year on the lam break her? Or will she discover who she really is?
With Crump, we mark the publication of classics like Carson’s Silent Spring and White’s Charlotte’s Web, and even the musical premiere of Tchaikovsky’s Swan Lake. We note the discovery of the structure of DNA and the mountain gorilla, the rise of citizen science projects, and the work of people who’ve shaped how we view and protect nature—from Aristotle to E. O. Wilson. Some days feature US celebrations, like National Poinsettia Day and National Cat Day; others highlight country-specific celebrations, like Australia’s Wombat Day and Thailand’s Monkey Buffet Festival, during which thousands of macaques feast on an ornately arranged spread of fruits and vegetables. Crump also highlights celebrations that span borders, from World Wildlife Conservation Day to International Mountain Day and global festivities for snakes, sea turtles, and chocolate. Interweaving fascinating facts on everything from jellyfish bodies to monthly birth flowers with folkloric entries featuring the Loch Ness Monster, unicorns, and ancient Greek, Roman, and Egyptian mythology, the almanac is as exhaustive as it is enchanting.
A Year with Nature celebrates the wonder and beauty of our natural world as we have expressed it in visual arts, music, literature, science, natural history, and everyday experience. But more than this, the almanac’s vignettes encourage us to contemplate how we can help ensure that future generations will be able to enjoy the landscapes and rich biodiversity we so deeply cherish.
“A beautiful, powerful book. Read it and be changed.”—Jim Minick
This collection of fourteen essays by Charles Dodd White—praised by Silas House as “one of the best prose stylists of Appalachian literature”—explores the boundaries of family, loss, masculinity, and place. Contemplating the suicides of his father, uncle, and son, White meditates on what it means to go on when seemingly everything worth living for is lost. What he discovers is an intimate connection to the natural world, a renewed impulse to understand his troubled family history, and a devotion to following the clues that point to the possibility of a whole life.
Avoiding easy sentiment and cliché, White’s transformative language drives toward renewal. A Year without Months introduces lively and memorable characters, as the author draws on a wide range of emotions to analyze everything, including himself.
Many of us are familiar with the ancient Egyptians’ obsession with immortality and the great efforts they made to secure the quality of their afterlife. But, as Rune Nyord shows, even today, our understanding of the Egyptian afterlife has been formulated to a striking extent in Christian terms. Nyord argues that this is no accident, but rather the result of a long history of Europeans systematically retelling the religion of ancient Egypt to fit the framework of Christianity. The idea of ancient Egyptians believing in postmortem judgment with rewards and punishments in the afterlife was developed during the early modern period through biased interpretations that were construed without any detailed knowledge of ancient Egyptian religion, hieroglyphs, and sources.
As a growing number of Egyptian images and texts became available through the nineteenth century, these materials tended to be incorporated into existing narratives rather than being used to question them. Against this historical background, Nyord argues that we need to return to the indigenous sources and shake off the Christian expectations that continue to shape scholarly and popular thinking about the ancient Egyptian afterlife.
Garb follows the gradual disappearance of the soul from modern philosophy while drawing attention to its continued persistence as a topic in literature and popular culture. He pays close attention to James Hillman’s “archetypal psychology,” using it to engage critically with the psychoanalytic tradition and reflect anew on the cultural and political implications of the return of the soul to contemporary psychology. Comparing Kabbalistic thought to adjacent developments in Catholic, Protestant, and other popular expressions of mysticism, Garb ultimately offers a thought-provoking argument for the continued relevance of religion to the study of psychology.
Park provides a genealogy of oriental style through contextualized readings of popular films-from the multicultural city in Blade Runner and the Japanese American mentor in The Karate Kid to the Afro-Asian reworking of the buddy genre in Rush Hour and the mixed-race hero in The Matrix. Throughout these analyses Park shows how references to the Orient have marked important changes in American popular attitudes toward East Asia in the past thirty years, from abjection to celebration, invisibility to hypervisibility.
Most notable among Hearst's competitors was New York City's The World, owned and managed by a European Jewish immigrant named Joseph Pulitzer. The Yellow Journalism describes how these two papers and others exploited the scandal, corruption, and crime among the city's most influential citizens, and its most desperate inhabitants--a policy that made this "journalism of action" remarkably effective, not just as a commercial force, but also as an advocate for the city's poor and defenseless. Spencer shows how many of the innovations first introduced during this period--from investigative reporting to the use of color, entertainment news, and cartoons in papers--have had a lasting effect on journalism; and how media in our day reflects the Yellow Press's influence, but also its threatened irrelevance within the broader realities of contemporary society.
The personal and professional histories of three musicians are central to Jones's discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of "yellow music"; and leftist Nie Er, a former student of Li’s whose musical idiom grew out of virulent opposition to this Sinified jazz. As he analyzes global media cultures in the postcolonial world, Jones avoids the parochialism of media studies in the West. He teaches us to hear not only the American influence on Chinese popular music but the Chinese influence on American music as well; in so doing, he illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century.
Flowing through the heart of the North China Plain—home to 200 million people—the Yellow River sustains one of China’s core regions. Yet this vital water supply has become highly vulnerable in recent decades, with potentially serious repercussions for China’s economic, social, and political stability. The Yellow River is an investigative expedition to the source of China’s contemporary water crisis, mapping the confluence of forces that have shaped the predicament that the world’s most populous nation now faces in managing its water reserves.
Chinese governments have long struggled to maintain ecological stability along the Yellow River, undertaking ambitious programs of canal and dike construction to mitigate the effects of recurrent droughts and floods. But particularly during the Maoist years the North China Plain was radically re-engineered to utilize every drop of water for irrigation and hydroelectric generation. As David A. Pietz shows, Maoist water management from 1949 to 1976 cast a long shadow over the reform period, beginning in 1978. Rapid urban growth, industrial expansion, and agricultural intensification over the past three decades of China’s economic boom have been realized on a water resource base that was acutely compromised, with effects that have been more difficult and costly to overcome with each passing decade. Chronicling this complex legacy, The Yellow River provides important insight into how water challenges will affect China’s course as a twenty-first-century global power.
Haycraft traces the efforts of manufacturers such as Caterpillar, Allis-Chalmers, International Harvester, J. I. Case, Deere, and Massey-Ferguson to diversify from farm equipment to specialized earthmoving equipment and the important contributions of LeTourneau, Euclid, and others in meeting the needs of the construction and mining industries. He shows how postwar economic and political events, especially the creation of the interstate highway system, spurred the development of more powerful and more agile machines. He also relates the precipitous fall of several major American earthmoving machine companies and the rise of Japanese competitors in the early 1980s.
Extensively illustrated and packed with detailed information on both manufacturers and machines, Yellow Steel knits together the diverse stories of the many companies that created the earthmoving equipment industry—how they began, expanded, retooled, merged, succeeded, and sometimes failed. Their history, a step-by-step linking of need and invention, provides the foundation for virtually all modern transportation, construction, commerce, and industry.
Most editions have been based on the 1892 New England Magazine publication rather than the handwritten manuscript at Radcliffe College. Publication of the unedited manuscript in 1994 sparked controversy over which of the two was definitive. Since then, scholars have discovered half a dozen parent texts for later twentieth-century printings, including William Dean Howells’s version from 1920 and the 1933 Golden Book version.
While traditional critical editions gather evidence and make an argument for adopting one text as preferable to others,“The Yellow Wall-Paper” by Charlotte Perkins Gilman: A Dual-Text Critical Edition, edited by Shawn St. Jean, offers both manuscript and magazine versions, critically edited and printed in parallel for the first time. New significance appears in such facets as the magazine’s accompanying illustrations, its lineation and paragraphing, Gilman’s choice of pronouns, and her original handwritten ending.
This critical edition of “The Yellow Wall-Paper” includes a full and nontraditional apparatus, making it easy for students and scholars to study the more than four hundred variants between the two texts. Four new essays, written especially for this volume, explore the implications of this multitext model.
In the past twenty-five years many Native American writers have retold the traditional stories of powerful mythological women: Corn Woman, Changing Woman, Serpent Woman, and Thought Woman, who with her sisters created all life by thinking it into being. Within and in response to these evolving traditions, Leslie Marmon Silko takes from her own tradition, the Keres of Laguna, the Yellow Woman. Yellow Woman stories, always female-centered and always from the Yellow Woman's point of view, portray a figure who is adventurous, strong, and often alienated from her own people. She is the spirit of woman. Ambiguous and unsettling, Silko's "Yellow Woman" explores one woman's desires and changes--her need to open herself to a richer sensuality. Walking away from her everyday identity as daughter, wife and mother, she takes possession of transgressive feelings and desires by recognizing them in the stories she has heard, by blurring the boundaries between herself and the Yellow Woman of myth.
Silko's decision to tell the story from the narrator's point of view is traditional, but her use of first person narration and the story's much raised ambiguity brilliantly reinforce her themes. Like traditional yellow women, the narrator is unnamed. By choosing not to reveal her name, she claims the role of Yellow Woman, and Yellow Woman's story is the one Silko clearly claims as her own. The essays in this collection compare Silko's many retellings of Yellow Woman stories from a variety of angles, looking at crucial themes like storytelling, cultural inheritances, memory, continuity, identity, interconnectedness, ritual, and tradition.
This casebook includes an introduction by the editor, a chronology, an authoritative text of the story itself, critical essays, and a bibliography for further reading in both primary and secondary sources. Contributors include Kim Barnes, A. LaVonne Ruoff, Paula Gunn Allen, Patricia Clark Smith, Bernard A. Hirsch, Arnold Krupat, Linda Danielson, and Patricia Jones.
Music and performance provide a unique window into the ways that cultural information is circulated and perceptions are constructed. Because they both require listening, are inherently ephemeral, and most often involve collaboration between disparate groups, they inform cultural perceptions differently from literary or visual art forms, which tend to be more tangible and stable.
In Yellowface, Krystyn R. Moon explores the contributions of writers, performers, producers, and consumers in order to demonstrate how popular music and performance has played an important role in constructing Chinese and Chinese American stereotypes. The book brings to life the rich musical period of the late nineteenth and early twentieth centuries. During this time, Chinese and Chinese American musicians and performers appeared in a variety of venues, including museums, community theaters, and world’s fairs, where they displayed their cultural heritage and contested anti-Chinese attitudes. A smaller number crossed over into vaudeville and performed non-Chinese materials. Moon shows how these performers carefully navigated between racist attitudes and their own artistic desires.
While many scholars have studied both African American music and blackface minstrelsy, little attention has been given to Chinese and Chinese American music. This book provides a rare look at the way that immigrants actively participated in the creation, circulation, and, at times, subversion of Chinese stereotypes through their musical and performance work.
During the first winter of the war, Confederate soldiers derided the men of an Alabama Confederate unit for their yellow-trimmed uniforms that allegedly resembled the plumage of the yellow-shafted flicker or “yellowhammer” (now the Northern Flicker, Colaptes auratus, and the state bird of Alabama). The soldiers’ nickname, “Yellowhammers,” came from this epithet. After the war, Alabama veterans proudly wore yellowhammer feathers in their hats or lapels when attending reunions. Celebrations throughout the state have often expanded on that pageantry and glorified the figures, events, and battles of the Civil War with sometimes dubious attention to historical fact and little awareness of those who supported, resisted, or tolerated the war off the battlefield.
Many books about Alabama’s role in the Civil War have focused serious attention on the military and political history of the war. The Yellowhammer War likewise examines the military and political history of Alabama’s Civil War contributions, but it also covers areas of study usually neglected by centennial scholars, such as race, women, the home front, and Reconstruction. From Patricia A. Hoskins’s look at Jews in Alabama during the Civil War and Jennifer Ann Newman Treviño’s examination of white women’s attitudes during secession to Harriet E. Amos Doss’s study of the reaction of Alabamians to Lincoln’s Assassination and Jason J. Battles’s essay on the Freedman’s Bureau, readers are treated to a broader canvas of topics on the Civil War and the state.
CONTRIBUTORS
Jason J. Battles / Lonnie A. Burnett / Harriet E. Amos Doss / Bertis English / Michael W. Fitzgerald / Jennifer Lynn Gross / Patricia A. Hoskins / Kenneth W. Noe / Victoria E. Ott / Terry L. Seip / Ben H. Severance / Kristopher A. Teters / Jennifer Ann Newman Treviño / Sarah Woolfolk Wiggins / Brian Steel Wills
Published in Cooperation with the Frances S. Summersell Center for the Study of the South
"Without question the best and most thought-provoking volume on America's first national park that has been written in the last half-century." —Journal of the West
"Broad ranging, informative, thoughtful, and simply fun to read." —Western Historical Quarterly
"...written in warm and human terms. It documents that good can triumph over greed, that man himself can overcome his tendency toward exploitation and follow his better self toward conservation and concern." --USA Today
Of practical importance, Yellowstone Cougars addresses the management and conservation of multiple carnivores in increasingly human-dominated landscapes. The authors move beyond a single-species approach to cougar management and conservation to one that considers multiple species, which was impossible to untangle before wolf reestablishment in the Yellowstone area provided biologists with this research opportunity.
Yellowstone Cougars provides objective scientific data at the forefront of understanding cougars and large carnivore community structure and management issues in the Greater Yellowstone Ecosystem, as well as in other areas where wolves and cougars are reestablishing. Intended for an audience of scientists, wildlife managers, conservationists, and academics, the book also sets a theoretical precedent for writing about competition between carnivorous mammals.
Pioneer photographer William Henry Jackson’s photographs from the 1871 Hayden Survey were instrumental in persuading Congress to designate Yellowstone as a national park—America’s first and greatest experiment in the preservation of an extraordinary landscape. Yellowstone National Park: Through the Lens of Time is an extended visual essay presenting Jackson’s images paired with breathtaking color rephotographs of each view from photojournalist Bradly J. Boner. These contemporary comparisons to Jackson’s originals reveal just how well that experiment has stood the test of time.
Yellowstone is always changing. The Grand Canyon is getting deeper and wider as the Yellowstone River carves a chasm into the earth. The flows of the great hot springs at Mammoth are creating new layers of delicate, colorful cascades and leaving the old terraces to crumble in decay. Roads, bridges, and pathways wind through the park, and there are restaurants, campgrounds, and hotels. Yet even with the impact of humanity, Yellowstone remains remarkably intact, evidence that the effort to preserve and sustain the park for future generations has been a success.
Combining more than 100 gorgeous “then and now” sets of photographs—the first complete published collection of Jackson’s images from the 1871 Hayden Survey and a result of Boner's three years of work rephotographing them—with history, extensive notes, and personal tales, Yellowstone National Park: Through the Lens of Time pays homage to the park’s early history and its present state, and offers a glimpse into the future. The great experiment of Yellowstone—which captivates millions of visitors from all corners of the globe each year—has transcended generations and should be maintained for generations to come.
The University Press of Colorado and the author gratefully acknowledge the generous contributions of the many donors to the Kickstarter campaign supporting the publication of this book.
From charismatic megafauna like elk, bison, wolves, bighorn sheep, and grizzly bears, to smaller mammals like bats, pikas, beavers, and otters, to some of the 279 species of birds, Johnsgard describes the behavior of animals throughout the seasons, with sections on what summer and autumn mean to the wildlife of the park, especially with the intrusion of millions of tourists each year. Enhanced by Mangelsen’s wildlife photography, Yellowstone Wildlife reveals the beauty and complexity of these species’ intertwined lives and that of Yellowstone’s greater ecosystem.
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