In 1976, at age twenty-five, Stephen Kinzer arrived in Nicaragua as a freelance journalist—and became a witness to history. He returned many times during the years that followed, becoming Latin America correspondent for the Boston Globe in 1981 and joining the foreign staff of the New York Times in 1983. That year he opened the New York Times Managua bureau, making that newspaper the first daily in America to maintain a full-time office in Nicaragua.
Widely considered the best-connected journalist in Central America, Kinzer personally met and interviewed people at every level of the Somoza, Sandinistas and contra hierarchies, as well as dissidents, heads of state, and countless ordinary citizens throughout the region.
Blood of Brothers is Kinzer’s dramatic story of the centuries-old power struggle that burst into the headlines in 1979 with the overthrow of the Somoza dictatorship. It is a vibrant portrait of the Nicaraguan people and their volcanic land, a cultural history rich in poetry and bloodshed, baseball and insurrection.
The surprising story of the wine industry’s role in the rise of French Algeria and the fall of empire.
“We owe to wine a blessing far more precious than gold: the peopling of Algeria with Frenchmen,” stated agriculturist Pierre Berthault in the early 1930s. In the last decades of the nineteenth century, Europeans had displaced Algerians from the colony’s best agricultural land and planted grapevines. Soon enough, wine was the primary export of a region whose mostly Muslim inhabitants didn’t drink alcohol.
Settlers made fortunes while drawing large numbers of Algerians into salaried work for the first time. But the success of Algerian wine resulted in friction with French producers, challenging the traditional view that imperial possessions should complement, not compete with, the metropole. By the middle of the twentieth century, amid the fight for independence, Algerians had come to see the rows of vines as an especially hated symbol of French domination. After the war, Algerians had to decide how far they would go to undo the transformations the colonists had wrought—including the world’s fourth-biggest wine industry. Owen White examines Algeria’s experiment with nationalized wine production in worker-run vineyards, the pressures that resulted in the failure of that experiment, and the eventual uprooting of most of the country’s vines.
With a special focus on individual experiences of empire, from the wealthiest Europeans to the poorest laborers in the fields, The Blood of the Colony shows the central role of wine in the economic life of French Algeria and in its settler culture. White makes clear that the industry left a long-term mark on the development of the nation.
Conflicts over subterranean resources, particularly tin, oil, and natural gas, have driven Bolivian politics for nearly a century. “Resource nationalism”—the conviction that resource wealth should be used for the benefit of the “nation”—has often united otherwise disparate groups, including mineworkers, urban workers, students, war veterans, and middle-class professionals, and propelled an indigenous union leader, Evo Morales, into the presidency in 2006. Blood of the Earth reexamines the Bolivian mobilization around resource nationalism that began in the 1920s, crystallized with the 1952 revolution, and continues into the twenty-first century.
Drawing on a wide array of Bolivian and US sources, Kevin A. Young reveals that Bolivia became a key site in a global battle among economic models, with grassroots coalitions demanding nationalist and egalitarian alternatives to market capitalism. While US-supported moderates within the revolutionary regime were able to defeat more radical forces, Young shows how the political culture of resource nationalism, though often comprising contradictory elements, constrained government actions and galvanized mobilizations against neoliberalism in later decades. His transnational and multilevel approach to the 1952 revolution illuminates the struggles among Bolivian popular sectors, government officials, and foreign powers, as well as the competing currents and visions within Bolivia’s popular political cultures. Offering a fresh appraisal of the Bolivian Revolution, resource nationalism, and the Cold War in Latin America, Blood of the Earth is an ideal case study for understanding the challenges shared by countries across the Global South.
P. L. Gaus’s Blood of the Prodigal, a mystery in the tradition of Tony Hillerman, is back in a new edition, including an exclusive interview with the author, discussion questions for reading groups, and a detailed map and driving guide to Holmes County, Ohio, with everything one needs to visit the iconic scenes depicted in the story.
In Holmes County, Ohio—home to the largest Amish and Mennonite settlements in the world—mystery and foreboding lurk in the quiet Old Order Amish community led by Bishop Eli Miller.
The illusion of peace is shattered one early morning when a young Amish boy goes missing—abducted from his home and from Bishop Miller’s care. At first, the bishop suspects the child’s father, who was exiled from the Old Order ten years ago, but a murder soon casts doubt on the bishop’s theory. With a strong distrust of law enforcement and the modern “English” ways, the bishop must put his faith in an unlikely partnership with Professor Michael Branden before it’s too late.With the help of the peaceful pastor Cal Troyer and the reckless Sheriff Bruce Robertson, Branden plunges headlong into the closed culture to unravel the mystery of the missing child and uncover truths many would prefer to leave undisturbed.
P. L. Gaus’s Blood of the Prodigal, a mystery in the tradition of Tony Hillerman, is back in a new edition, including an exclusive interview with the author, discussion questions for reading groups, and a detailed map and driving guide to Holmes County, Ohio, with everything one needs to visit the iconic scenes depicted in the story.
In Holmes County, Ohio—home to the largest Amish and Mennonite settlements in the world—mystery and foreboding lurk in the quiet Old Order Amish community led by Bishop Eli Miller.
The illusion of peace is shattered one early morning when a young Amish boy goes missing—abducted from his home and from Bishop Miller’s care. At first, the bishop suspects the child’s father, who was exiled from the Old Order ten years ago, but a murder soon casts doubt on the bishop’s theory. With a strong distrust of law enforcement and the modern “English” ways, the bishop must put his faith in an unlikely partnership with Professor Michael Branden before it’s too late.With the help of the peaceful pastor Cal Troyer and the reckless Sheriff Bruce Robertson, Branden plunges headlong into the closed culture to unravel the mystery of the missing child and uncover truths many would prefer to leave undisturbed.
Through stark observations and visceral experiences, Blood Orchid begins Charles Bowden’s dizzying excavation of the brutal, systemic violence and corruption at the roots of American society. Like a nightmarish fever dream that turns out to be our own reality, Bowden visits dying friends in skid row apartments in Los Angeles, traverses San Francisco byways lined with clubs and joints, and roams through village bars and streets in the Sierra Madre mountains. In these wanderings resides a yearning for the understanding of past and present sins, the human penchant for warfare, abuse, and oppression, and the true war between humanity, the industrialized world, and the immense tolls of our shared land. Deeply personal, hauntingly prophetic, and bracingly sharp, the start to Bowden’s harrowed quest to unearth our ugly truths remains strikingly poignant today.
By early April 1914, Colorado Governor Elias Ammons thought the violence in his state’s strike-bound southern coal district had eased enough that he could begin withdrawing the Colorado National Guard, deployed six months earlier as military occupiers. But Ammons misread the signals, and on April 20, 1914, a full-scale battle erupted between the remaining militiamen and armed strikers living in a tent colony at the small railroad town of Ludlow. Eight men were killed in the fighting, which culminated in the burning of the colony. The next day, the bodies of two women and eleven children were found suffocated in a below-ground shelter. The “Ludlow Massacre,” as it quickly became known, launched a national call-to-arms for union supporters to join a ten-day guerrilla war along more than two hundred miles of the eastern Rockies. The convulsion of arson and violence killed more than thirty people and didn’t end until President Woodrow Wilson sent in the U.S. Army. Overall at least seventy-five men, women, and children were killed in seven months, likely the nation’s deadliest labor struggle.
In Blood Passion, journalist Scott Martelle explores this little-noted tale of political corruption and repression and immigrants’ struggles against dominant social codes of race, ethnicity, and class. More than a simple labor dispute, the events surrounding Ludlow embraced some of the most volatile social movements of the early twentieth century, pitting labor activists, socialists, and anarchists against the era’s powerful business class, including John D. Rockefeller, Jr., and helped give rise to the modern twins of corporate public relations and political “spin.” But at its heart, Blood Passion is the dramatic story of small lives merging into a movement for change and of the human struggle for freedom and dignity.
Explosive and original, Blood, Sweat, and Fear brings historical perspective to contemporary debates about North American workplace violence.
The Glorious Revolution of 1688 represented a crucial turning point in modern British history by decisively shifting political power from the monarchy to Parliament. In this cogent study, first published in 1972, Stuart Prall offers a well-balanced account of the Revolution, its roots, and its consequences. The events of 1688, Prall argues, cannot be viewed in isolation. Examining the tempestuous half-century that preceded and precipitated William and Mary’s accession, he provides a comprehensive overview of the Revolution’s context and of its historical meaning.
“[Prall] insists that the Revolution of 1688 was the culmination of a long crisis begun back in 1640, and the revolution settlement was the resolution of problems which the Puritan Revolution and the Restoration had left unsolved. This is an admirable combination of analysis, commentary upon views of historians, and chronological narrative, starting with the Restoration in 1660 and continuing through the Act of Settlement in 1701.”—Choice
Folklore as it comes from the mouths of living storytellers has a matchless authority and conviction. Richard Dorson, living for five months among the Indians, Finns, Canadiens, Cornishmen, lumberjacks, sailors, miners, and sagamen of the Upper Peninsula of Michigan, has listened to their tales, which this book reproduces with all their native thunder and salt. With this lively evidence he proves that America still has its myth-makers and purveyors of myth, who represent, both ethnically and historically, an enormous range of traditional oral folklore.
We meet the Chippewa and Potawatomi Indians, who tell their own heroic versions of the wars with the white men, and whose chief delight is to relate the adventures of the folk hero, Winabijou. For them, as for the French-Canadians and Finns, magical beliefs have been part of their daily education and entertainment. Each group has its own version of European folk tales: the old fairy stories find new form as dragons are conquered with razors and soap, and giants talk in the idiom of the backwoods and pioneer towns.
Some of these myths center around imaginary and semi-imaginary folk heroes; others spring from local politics, and even more from local occupations. The woods tales of lumberjacks, the tragic mysteries of the mines, the weird adventures on the Lakes, each kind of tale has its representative teller. Sometimes the raconteur's most exciting fables concern his own wonderful exploits—with women, drink, and wicked employers. Rooted deep in storytelling tradition, these tales hark back to the frontier and immigrant past of an America shaped by many peoples with extraordinary experiences.
Mr. Dorson provides, in his introduction, a simple account of the idea behind the book and his methods of procuring the tales, in concise and closely written notes at the end of the book he furnishes annotations to the tales which should satisfy and stimulate every folklorist, professional or otherwise. Mr. Dorson did much of the fieldwork for this book under a Library of Congress Fellowship; he has also held a Harvard Sheldon Traveling Fellowship, a Guggenheim Fellowship, and a Faculty Study Fellowship from the American Council of Learned Societies.
Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage.
Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.
"In Williamson County some men took to violence almost as a way of life. A shocking story, well told."--New Yorker
Williamson County in southern Illinois has been the scene of almost unparalleled violence, from the Bloody Vendetta between two families in the 1870s through the Herrin Massacre of 1922, Ku Klux Klan activities that ended in fatalities, and the gang war of the 1920s between the Charlie Birger and Shelton brothers gangs. Paul Angle was fascinated by this more-than-fifty-year history, and his account of this violence has become a classic.
Debra A. Shattuck pulls from newspaper accounts and hard-to-find club archives to reconstruct a forgotten era in baseball history. Her fascinating social history tracks women players who organized baseball clubs for their own enjoyment and even found roster spots on men's teams. Entrepreneurs, meanwhile, packaged women's teams as entertainment, organizing leagues and barnstorming tours. If the women faced financial exploitation and indignities like playing against men in women's clothing, they and countless ballplayers like them nonetheless staked a claim to the nascent national pastime. Shattuck explores how the determination to take their turn at bat thrust female players into narratives of the women's rights movement and transformed perceptions of women's physical and mental capacity.
Vivid and eye-opening, Bloomer Girls is a first-of-its-kind portrait of America, its women, and its game.
Blooming Fiascoes is a collective of verse that deconstructs identity. We are beautiful and monstrous. We live in a beautiful and monstrous world. Ellen Hagan poetically mirrors these metaphoric adversaries, drawing on her experiences as a woman, an artist, a mother, a transplanted southerner, and above all, a human being. She plumbs origins in history, body, and living to question how we reckon our whole selves in the catacombs of a world gone mad:
We mourn, we bless, / we blow, we wail, we / wind—down, we sip, / we spin, we blind, we / bend, bow & hem. We / hip, we blend, we bind, / we shake, we shine, / shine. We lips & we / teeth, we praise & protest.
In these poems, Assyrian, Italian, and Irish lines seep deeper into a body that is growing older but remains engaged with unruly encounters: the experience of raising daughters, sexual freedom, and squaring body image against the body’s prohibitions. This is a work where the legacy is still evolving and always asking questions in real time. Blooming Fiascos spindles poetry that is not afraid to see itself and the lives it inhabits.
The twentieth century is frequently characterized in terms of its unprecedented levels of bloodshed. More human beings were killed or allowed to die by human cause than ever before in history. The impact of the century’s carnage does not end with the lives that were taken; the atrocities continue to take their toll on those who survived, on those who bore witness, and on succeeding generations.
Blooming through the Ashes features over sixty writings about this historic violence and its aftermath in a global anthology that brings together the work of Nobel laureates Seamus Heaney, Toni Morrison, Czeslaw Milosz, Wole Soyinka, Elie Wiesel, Imre Kertesz, Alexandr Solzhenitsyn, Eugenio Montale, and Pablo Neruda. In non-fiction and fiction, these writers and others reflect on the litany of man-made violence that marred the twentieth century and that shadows the twenty-first, including the Holocaust, the Gulag, the Chinese Cultural Revolution, apartheid, repression in Latin America, genocides in Rwanda, Cambodia, and the attacks of 9/11.
The texts are arranged thematically, rather than by event, in order to highlight the shared themes of memory expressed across culture and geography. Starting with visceral reactions to a violent event, chapters proceed through recognitions of loss, and move into statements of public remembrance through which future generations attempt to understand the impact of past violence.
From his film festival debut Hard Eight to ambitious studio epics Boogie Nights, Magnolia, and There Will Be Blood, Paul Thomas Anderson’s unique cinematic vision focuses on postmodern excess and media culture. In Blossoms and Blood, Jason Sperb studies the filmmaker’s evolving aesthetic and its historical context to argue that Anderson’s films create new, often ambivalent, narratives of American identity in a media-saturated world.
Blossoms and Blood explores Anderson’s films in relation to the aesthetic and economic shifts within the film industry and to America’s changing social and political sensibilities since the mid-1990s. Sperb provides an auteur study with important implications for film history, media studies, cultural studies, and gender studies. He charts major themes in Anderson’s work, such as stardom, self-reflexivity, and masculinity and shows how they are indicative of trends in late twentieth-century American culture. One of the first books to focus on Anderson’s work, Blossoms and Blood reveals the development of an under-studied filmmaker attuned to the contradictions of a postmodern media culture.
A short, sharp, and provocative book, Blow Up the Humanities has esteemed scholar Toby Miller declaring that there are two humanities in the United States. One is the venerable, powerful humanities of private universities; the other is the humanities of state schools, which focus mainly on job prospects. There is a class division between the two—both in terms of faculty research and student background—and it must end.
Miller critically lays waste to the system. He examines scholarly publishing as well as media and cultural studies to show how to restructure the humanities by studying popular cultural phenomena, like video games. Miller ultimately insists that these two humanities must merge in order to survive and succeed in producing an aware and concerned citizenry.
Reopening the canons of the Beat Generation, Blows Like a Horn traces the creative counterculture movement as it cooked in the heat of Bay Area streets and exploded into spectacles, such as the scandal of the Howl trial and the pop culture joke of beatnik caricatures. Preston Whaley shows Beat artists riding the glossy exteriors of late modernism like a wave. Participants such as Lawrence Lipton, Lawrence Ferlinghetti, and at great personal cost, even Jack Kerouac, defied the traditional pride of avant-garde anonymity. They were ambitious to change the culture and used mass-mediated scandal, fame, and distortion to attract knowing consumers to their poetry and prose.
Blows Like a Horn follows the Beats as they tweaked the volume of excluded American voices. It watches vernacular energies marching through Beat texts on their migration from shadowy urban corners and rural backwoods to a fertile, new hyper-reality, where they warped into stereotypes. Some audiences were fooled. Others discovered truths and were changed.
Mirroring the music of the era, the book breaks new ground in showing how jazz, much more than an ambient soundtrack, shaped the very structures of Beat art and social life. Jazz, an American hybrid—shot through with an earned-in-the-woodshed, African American style of spontaneous intelligence—also gave Beat poetry its velocity and charisma. Blows Like a Horn plumbs the actions and the art of celebrated and arcane Beat writers, from Allen Ginsberg to ruth weiss. The poetry, the music, the style—all of these helped transform U.S. culture in ways that are still with us.
In The Blue and the Green, anthropologist Jack Stauder analyzes how large-scale political, social, and environmental processes have transformed ranching and rural life in the West. Focusing on the community of Blue, Arizona, Stauder details how the problems of overgrazing, erosion, and environmental stresses on the open range in the early twentieth century coincided with a push by the newly created US Forest Service to develop fenced grazing allotments on federal lands. Later in the twentieth century, with the enactment of the Endangered Species Act and other laws, the growing power of urban-based environmental groups resulted in the reduction of federal grazing leases throughout the West.
The author combines historical research with oral interviews to explore the impact of these transformations on the ranchers residing in the Blue River Valley of eastern Arizona. Stauder gives voice to these ranchers, along with Forest Service personnel, environmental activists, scientists, and others involved with issues on “the Blue,” shedding light on how the ranchers’ rural way of life has changed dramatically over the course of the past century. This is a fascinating case study of the effects of increasing government regulations and the influence of outsiders on ranching communities in the American West.
Since the end of World War II the Israeli public has bitterly debated the guilt-ridden question of whether the Jewish community of Palestine really did everything in its power to rescue Jews in Nazi-occupied countries. Dina Porat gives a searching analysis of the record, basing her conclusions on archival material and other primary sources, hitherto mostly unused. She investigates how and when the Zionist leadership in Palestine fully understood that Europe's Jews were facing annihilation; what rescue plans they developed and what resources were allocated to the effort; what help they tried to get from free-world Jewry and from the British and American governments. And she looks at what went wrong—why in the end so little was done.
Porat struggles with these painful questions of accountability in the light of the Zionist enterprise, its ideologies and internal disputes. She describes the ambivalent attitude of the Zionists in Palestine, who first viewed most of the European Jews as lambs led to slaughter, compared the victims of the Holocaust unfavorably with the tough pioneers of Zion and those few in Europe who fought back, and only gradually understood that every daily struggle was a form of fighting back. Above all, the priorities of the Jewish community in Palestine reflected its overriding goal of building an independent Jewish state despite meager resources, crucial dependence on the good will of friendly powers, and a small number of survivors (instead of the millions they hoped to absorb).
The Blue and the Yellow Stars of David is an important chapter in the history of Israel and the history of World War II. And as the story of a leadership that was unable to respond adequately to a tragically urgent situation, this book focuses on questions of wide and abiding concern.
2023 Finalist, PROSE Award in Architecture and Urban Planning
A guide to water-focused and climate-resilient architectural and urban design.
Le Corbusier famously said, “A house is a machine for living in.” We now confront the litany of environmental challenges associated with the legacy of the architectural machine: a changing climate, massive species die-off, diminished air and water quality, and resource scarcities. Brook Muller offers an alternative: water-centric urban design that fosters sustainability, equity, and architectural creativity.
Inspired by the vernacular, such as the levadas of Madeira Island and both the arid and drenched places of the American West, Muller articulates a “hydro-logical” philosophy in which architects and planners begin by conceptualizing interactions between existing waterways and the spaces they intend to develop. From these interactions—and the new technologies and approaches enabling them—aesthetic, spatial, and experiential opportunities follow. Not content merely to work around sensitive ecology, Muller argues for genuinely climate-adapted urban landscapes in which buildings act as ecological infrastructure that actually improve watersheds while delivering functionality and beauty for diverse communities. Rich in images and practical examples, Blue Architecture will change the way we think about our designed world.
Born into a life of constant financial, physical, and moral threat, Meti Birabiro takes refuge in literature and the fantastic. Blue Daughter of the Red Sea is Birabiro’s poetic account of the harsh reality of her young life spread across three continents. Her voice is a fresh mélange of child and adult perspectives, at once brutally honest and wise beyond her years. Through her journey from Ethiopia to Italy and finally to the United States, we encounter Birabiro’s relatives, friends, and enemies—relationships so intense that these people become her vampires, devils, angels, and saints. These characterizations always lead her back to the truth, helping her to decipher what is fair and good, to understand what she must cherish and what she must rage against.
No one will soon forget the image, blazed across the airwaves, of armed Korean Americans taking to the rooftops as their businesses went up in flames during the Los Angeles riots. Why Korean Americans? What stoked the wrath the riots unleashed against them? Blue Dreams is the first book to make sense of these questions, to show how Korean Americans, variously depicted as immigrant seekers after the American dream or as racist merchants exploiting African Americans, emerged at the crossroads of conflicting social reflections in the aftermath of the 1992 riots.
The situation of Los Angeles’s Korean Americans touches on some of the most vexing issues facing American society today: ethnic conflict, urban poverty, immigration, multiculturalism, and ideological polarization. Combining interviews and deft socio-historical analysis, Blue Dreams gives these problems a human face and at the same time clarifies the historical, political, and economic factors that render them so complex. In the lives and voices of Korean Americans, the authors locate a profound challenge to cherished assumptions about the United States and its minorities.
Why did Koreans come to the United States? Why did they set up shop in poor inner-city neighborhoods? Are they in conflict with African Americans? These are among the many difficult questions the authors answer as they probe the transnational roots and diversity of Los Angeles’s Korean Americans. Their work finally shows us in sharp relief and moving detail a community that, despite the blinding media focus brought to bear during the riots, has nonetheless remained largely silent and effectively invisible. An important corrective to the formulaic accounts that have pitted Korean Americans against African Americans, Blue Dreams places the Korean American story squarely at the center of national debates over race, class, culture, and community.
Inspired by the miraculously mercurial potential of words, Stephen Yenser takes readers on a heady trip through a world full of promise yet compromised by human weakness. Set in sunny southern California and Greece, the poems of Blue Guide cast the shadow of mortality, and the tones are elegiac. This combination of the deadly serious and the exuberant is natural, Yenser notes; after all, work and orgy share the same etymological root, as do travail and travel, pledge and play.
Using various poetic modes, Yenser offers here a quatrain written to name a painting by Dorothea Tanning; a sequence of poems for his daughter; an excursive poem at once about Los Angeles and Baghdad and his father and a petty criminal; a group of prose poems set in penumbral bars; some postcards to a dead friend; and a meditation prompted by a sojourn on a remote Aegean island. The most unexpected work is an assemblage of quotations and glosses in the tradition of the commonplace book, except that in Yenser's hands these entries are densely interrelated
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This is a musician’s tale: the story of a boy growing up on the Iron Range, playing his guitar at family gatherings, coming of age in the psychedelic seventies, and honing his craft as a pro in Minneapolis, ground zero of American popular music in the mid-eighties. “There is a drop of blood behind every note I play and every word I write,” Paul Metsa says. And it’s easy to believe, as he conducts us on a musical journey across time and country, navigating switchbacks, detours, dead ends, and providing us the occasional glimpse of the promised land on the blue guitar highway.
His account captures the thrill of the Twin Cities when acts like the Replacements, Husker Dü, and Prince were remaking pop music. It takes us right onto the stages he shared with stars like Billy Bragg, Pete Seeger, and Bruce Springsteen. And it gives us a close-up, dizzying view of the roller-coaster ride that is the professional musician’s life, played out against the polarizing politics and intimate history of the past few decades of American culture. Written with a songwriter’s sense of detail and ear for poetry, Paul Metsa’s book conveys all the sweet absurdity, dry humor, and passion for the language of music that has made his story sing.
A mystery linking Manhattan circa 1991 to eastern Afghanistan in 2012, Blue Hours tells of a life-changing friendship between two memorable heroines. When we first meet Mim, she is a recent college graduate who has disavowed her lower middle class roots to befriend Kyra, a dancer and daughter of privilege, until calamity causes their estrangement. Twenty years later, Kyra has gone missing from her NGO’s headquarters in Jalalabad, and Mim—now a recluse in rural New England—embarks on a journey to find her. In its nuance, originality, and moral complexity, Blue Hours becomes an unexpected page-turner.
Blue Ice relates the tale of the University of Michigan's hockey program--from its fight to become a varsity sport in the 1920s to its 1996 and 1998 NCAA national championships.
This history of the hockey program profiles the personalities who shaped the program--athletic directors, coaches, and players. From Fielding Yost, who made the decision to build the team a rink with artificial ice before the Depression (which ensured hockey would be played during those lean years), to coaches Joseph Barss, who survived World War I and the ghastly Halifax explosion before becoming the program's first coach, to Red Berenson, who struggled to return his alma mater's hockey team to prominence in the 1980s and 1990s. Players from Eddie Kahn, who scored Michigan's first goal in 1923, to Brendan Morrison, who upon winning the 1996 national championship with his goal said, "This is for all the [Michigan] guys who never had a chance to win it."
Blue Ice also explores the players' exotic backgrounds, from Calumet in the Upper Peninsula to Minnesota's Iron Range to Regina, Saskatchewan; how coach Vic Heygliger launched the NCAA tournament at the glamorous Broadmoor Hotel; and how commissioner Bill Beagan transformed the country's premier hockey conference.
In Blue Ice, fans of hockey will learn the stories behind the curse of the Boston University Terriers, the hockey team's use of the winged helmet, and the unlikely success of Ann Arbor's home-grown talent.
Unlike other sports at the collegiate level, the hockey players at Michigan haven't been motivated by fame or fortune; rather, they came to Michigan get an education and to play the game they loved.
John U. Bacon has won numerous national writing awards and now freelances for Sports Illustrated,Time,ESPN Magazine,and the New York Times, among others.
Offering a candid behind-the-scenes look at small-animal veterinary practices, Blue Juice explores the emotional and ethical conflicts involved in providing a "good death" for companion animals. Patricia Morris presents a nuanced ethnographic account of how veterinarians manage patient care and client relations when their responsibility shifts from saving an animal's life to negotiating a decision to end it.
Using her own experiences and observations in veterinary settings as well as the voices of seasoned and novice vets, Morris reveals how veterinarians think about euthanasia and why this "dirty work" often precipitates "burnout," moral quandaries, and even tense or emotional interactions with clients. Closely observing these interactions, Morris illuminates the ways in which euthanasia reflects deep and unresolved tension in human-animal relationships.
Blue Juice seeks to understand how practitioners, charged with the difficult task of balancing the interests of animals and their humans, deal with the responsibility of ending their patients' lives.
A union organizer returns to her hometown and her high school sweetheart, only to discover unexpected peril. A middle-aged man walks to meet his wife at work one day and loses her forever. A young writer's stage fright destroys her work and her marriage but offers her a new life. In Blue Money, Susan Hubbard creates a world in which the most ordinary things can be magical, and the most ordinary people can be extraordinary.
"Selling the House" is the enchanting story of Marianne, a young housewife whose life is altered forever by a mysterious stranger. He suddenly appears on her doorstep one morning, offers to buy her home, quotes poetry, and just as suddenly disappears. Marianne soon discovers, however, that the stranger wants more than her house—he wants her. Although she does not accept the man's proposition, Marianne has been changed by it. His words echo throughout her life. "If she sometimes had trouble sleeping, if she spent more time reading poetry or staring out the window . . . well, those were small aberrations in an otherwise quite satisfactory life."
Strangers appear and disappear in Blue Money. Shoes charm and cure. A soiled shirt conjures conscience, and a clean one promises new identity. Hubbard brilliantly weaves these fantastic elements into the fabric of her fiction.
Women's relationships with men—whether they be fathers, lovers, or strangers—are a prominent theme of Hubbard's collection. "What Friends Are For" captures this theme at its most humorous and bizarre in the strange mishaps of two young girls trying to rid their lives of the stepfathers they despise. When their plan fails miserably, the girls are forced to accept the unwanted men, but not without finding brief comfort in the humor of their failure. "Then I start laughing too--a laugh I've never laughed before, like some exotic bird, high and shrill and free—and now [we're] laughing so hard that the voices outside fade away entirely."
Praised by Ploughshares as "an assured storyteller and a complex narrative stylist," Hubbard excels at writing spare yet powerfully evocative prose. Haunting in its suspense and subtle grace, Blue Money celebrates Hubbard's marvelous ability to explore the power of imagination.
Winner of the 2004 Agnes Lynch Starrett Poetry Prize
Blue on Blue Ground is about the body, desire, anxiety, and obsession—how what we want redeems and isolates us (and is sometimes used against us). These poems are artful yet accessible, lyrical yet direct, strange but recognizable.
Smith’s relentless self-examination, fear, sense of humor, and vulnerability are all laid to bare in crisp, precise language. From lonely observations, bizarre medical fascinations, emotion, loss, and honesty, Blue on Blue Ground constructs its internal and external worlds.
The metaphorical city is also a “body,” a place of exile and restoration, a symbol of hope, a catalyst for connection. The urban landscape is often the background for the moment or is the moment itself—the world looked at and sorted into words.
Though at times dark, there’s love to be found. Perhaps it’s what drives this collection, colors its observations, and leads it to finally announce: “Someone is putting the world back together.” <I>Blue on Blue Ground</I> wants to look at absolutely everything and believes that complete exploration of the physical and mental selves—fears and desires—is the key to moving and being completely alive in the material world.
Blue Rhythm Fantasy traces the extraordinary career of arranger Chappie Willet--a collaborator of Louis Armstrong, Cab Calloway, Duke Ellington, Gene Krupa, and many others--to revisit legendary Swing Era venues and performers from Harlem to Times Square. Wriggle's insightful music analyses of big band arranging techniques explore representations of cultural modernism, discourses on art and commercialism, conceptions of race and cultural identity, music industry marketing strategies, and stage entertainment variety genres.
Drawing on archives, obscure recordings, untapped sources in the African American press, and interviews with participants, Blue Rhythm Fantasy is a long-overdue study of the arranger during this dynamic era of American music history.
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