At thirteen, George Miksch Sutton planned a school of ornithology centered around his collection of bird skins, feathers, bones, nests, eggs, and a prized stuffed crow. As an adult, he became one of the most prominent ornithologists and bird artists of the twentieth century. He describes his metamorphosis from amateur to professional in Bird Student.
Born in 1898, Sutton gives us his clearest memories of his boyhood in Nebraska, Minnesota, Oregon, Illinois, Texas, and West Virginia with his closely knit family. Recognizing birds, identifying them correctly, drawing them, and writing about them became more and more important to him. His intense admiration for Louis Agassiz Fuertes had a good deal to do with his beginning to draw birds in earnest, and his correspondence and his 1916 summer visit with the generous Fuertes taught him to look at birds with the eyes of a professional artist and to consider the possibility of making ornithology his career.
By 1918, Sutton had talked himself into a job at the Carnegie Museum of Natural History in Pittsburgh, which gave him fresh opportunities to learn and travel, and his 1920 field trip to the Labrador Peninsula stimulated his lifelong interest in arctic birds. Further expeditions to James Bay, the east coast of Hudson Bay—on leave from his job as state ornithologist of Pennsylvania—and Southampton Island at the north end of Hudson Bay, in search of the elusive blue goose and its nesting grounds, give us glimpses of field methods before the days of sophisticated equipment. Sutton ends his autobiography in 1935, with an account of his graduate days at Cornell University and his position as curator of the Fuertes Memorial Collection of Birds.
Bird Student is about raising young roadrunners and owls and prairie dogs, sailing (and being stranded) in arctic waters, preparing specimens in the hold of a ship, hunting birds and caribou and bears in almost inaccessible regions, canoeing in the Far North, camping in Florida, and delivering speeches in Pennsylvania. Sutton's gift for mixing facts and philosophy lets us see the evolution of a naturalist, as his inherent curiosity and innocent enjoyment of beauty led to a permanent desire to preserve this beauty.
A foundational document, Black Hawk: An Autobiography is both an unsparing record of America's genocide against Native American peoples and the moving self-portrait of an extraordinary man.
First written in 1937 and never before published, Bridging Two Eras is the fascinating autobiography of Emily Newell Blair, a remarkable woman who successfully reconciled a productive public life with the traditional values of a housewife and mother.
Because Blair's life essentially spanned two eras, from the end of the nineteenth century through the middle of the twentieth, she thought of herself as a bridge builder. A dedicated feminist, she wanted her autobiography to help women understand what life was like during that transition time. She had moved from being a conventional, middle-class, midwestern wife and mother to becoming an acclaimed author, a nationally known feminist, and vice chairman of the Democratic National Committee only two years after women gained the right to vote. She felt that her story could encourage women to take their rightful places in public life.
Bridging Two Eras is divided into two parts. Book I is a charming evocation of life in southwest Missouri in the closing decades of the nineteenth century. It offers great insight into family relationships, class structure, and social attitudes typical of much of small-town America. Book II addresses Blair's public career and follows her progress as professional writer, suffrage activist, and partisan politician. Included are acute judgments of leading political figures, fascinating vignettes of the suffrage movement, an insider's view of the workings of the national Democratic Party in the 1920s and 1930s, and a valuable outlook on Missouri politics during the first third of the twentieth century.
Perceptive and introspective, Blair captivates her readers as she traces her own evolution. With candor, she explains her conflicts between family and career, acknowledging the difficulties and tensions she faced in pursuing a public life. Delightfully written, Bridging Two Eras provides valuable insight into all the possibilities, as well as the limitations, life then held for an American woman.
Like many black disc jockeys of his day, Montague played a role in his community beyond simply spreading the music of James Brown, Otis Redding, Aretha Franklin, and other prominent artists. Montague served as an unofficial spokesman for his black listeners, reflecting their beliefs and acting as a sounding board for their concerns.
Montague was based in Los Angeles in 1965 when the Watts rioters seized on his incendiary slogan, turning the shout of musical appreciation into a rallying cry for racial violence. In Burn, Baby! BURN! Montague recalls these tumultuous times, including the personal struggle he faced over whether to remain true to his listeners or bend to political pressure and stop shouting his suddenly controversial slogan.
Since the mid-1950s Montague had also expressed his passion for African American culture by becoming a zealous collector of artifacts of black history. He has built a monumental collection, taking time out from his collecting to become only the second African American to build his own radio station literally from the ground up.
A compelling account of a rich and varied life, Burn, Baby! BURN! gives an insider's view of half a century of black history, told with on-the-air zest by the DJ/historian who was there to see it unfold.
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