Nineteenth-century neoclassical sculpture was a highly politicized international movement. Based in Rome, many expatriate American sculptors created works that represented black female subjects in compelling and problematic ways. Rejecting pigment as dangerous and sensual, adherence to white marble abandoned the racialization of the black body by skin color.
In The Color of Stone, Charmaine A. Nelson brilliantly analyzes a key, but often neglected, aspect of neoclassical sculpture—color. Considering three major works—Hiram Powers’s Greek Slave, William Wetmore Story’s Cleopatra, and Edmonia Lewis’s Death of Cleopatra—she explores the intersection of race, sex, and class to reveal the meanings each work holds in terms of colonial histories of visual representation as well as issues of artistic production, identity, and subjectivity. She also juxtaposes these sculptures with other types of art to scrutinize prevalent racial discourses and to examine how the black female subject was made visible in high art.
By establishing the centrality of race within the discussion of neoclassical sculpture, Nelson provides a model for a black feminist art history that at once questions and destabilizes canonical texts.
Charmaine A. Nelson is assistant professor of art history at McGill University.
2023 John Leo & Dana Heller Award for Best Single Work, Anthology, Multi-Authored, or Edited Book in LGBTQ Studies, Popular and American Culture Association (PACA) / Popular Culture Association (PCA)
2023 Honorable Mention, Harry Shaw and Katrina Hazzard-Donald Award for Outstanding Work in African-American Popular Culture Studies, Popular and American Culture Association (PACA) / Popular Culture Association (PCA)
A celebration of the distinctive and politically defiant art of Black queer, cis-, and transfemmes, from the work of Janelle Monáe and Janet Mock to that of Indya Moore and Kelsey Lu.
The Color Pynk is a passionate exploration of Black femme poetics of survival. Sidelined by liberal feminists and invisible to mainstream civil rights movements, Black femmes spent the Trump years doing what they so often do best: creating politically engaged art, entertainment, and ideas. In the first full-length study of Black queer, cis-, and trans-femininity, Omise’eke Natasha Tinsley argues that this creative work offers a distinctive challenge to power structures that limit how we color, gender, and explore freedom.
Tinsley engages 2017–2020 Black femme cultural production that colorfully and provocatively imagines freedom in the stark white face of its impossibility. Looking to the music of Janelle Monáe and Kelsey Lu, Janet Mock’s writing for the television show Pose, the fashion of Indya Moore and (F)empower, and the films of Tourmaline and Juliana Huxtable, as well as poetry and novels, The Color Pynk conceptualizes Black femme as a set of consciously, continually rescripted cultural and aesthetic practices that disrupts conventional meanings of race, gender, and sexuality. There is an exuberant defiance in queer Black femininity, Tinsley finds—so that Black femmes continue to love themselves wildly in a world that resists their joy.
The vast Colorado River collects water from the highest Rocky Mountain peaks and traverses the widest plateaus, the deepest canyons, and the lowest deserts before emptying into the delta of northern Mexico. This austere land and mighty river resist exploration, settlement, and description. But in the hands of one of the West’s great writers, Frank Waters, the history and lore of its past make irresistible reading and a resounding case for mankind’s respect for the environment.
The new edition tells of conflicts, new alliances, and changing ways of life as Hispanic, European, and African American settlers flooded into a region that was already home to Native Americans. Providing balanced coverage of the entire state's history - from Grand Junction to Lamar and from Trinidad to Craig - the authors also reveal how Denver and its surrounding communities developed and gained influence.
While continuing to elucidate the significant impact of mining, agriculture, manufacturing, and tourism on Colorado, this new edition broadens its coverage. The authors expand their discussion of the twentieth century with several new chapters on the economy, politics, and cultural conflicts of recent years. In addition, they address changes in attitudes toward the natural environment as well as the contributions of women, Hispanics, African Americans, and Asian Americans to the state. Dozens of new illustrations, updated statistics, and an extensive bibliography of the most recent research on Colorado history enhance this edition.
These thoroughly revised and updated editions reflect current taxonomic knowledge. The authors describe botanical features of this unparalleled biohistorical region and its mountain ranges, basins, and plains and discuss plant geography, giving detailed notes on habitat, ecology, and range. The keys recount interesting anecdotes and introductions for each plant family. The book is rounded out with historical background of botanical work in the state, suggested readings, glossary, index to scientific and common names, references, and hundreds of illustrations. The books also contain a new contribution from Donald R. Farrar and Steve J. Popovich on moonworts. The fourth editions of Colorado Flora: Eastern Slope and Colorado Flora: Western Slope are ideal for both student and scientist and essential for readers interested in Colorado's plant life.
These thoroughly revised and updated editions reflect current taxonomic knowledge. The authors describe botanical features of this unparalleled biohistorical region and its mountain ranges, basins, and plains and discuss plant geography, giving detailed notes on habitat, ecology, and range. The keys contain interesting anecdotes and introductions for each plant family. The book is rounded out with historical background of botanical work in the state, suggested readings, glossary, index to scientific and common names, references, and hundreds of illustrations. The books also contain a new contribution from Donald R. Farrar and Steve J. Popovich on moonworts. The fourth editions of Colorado Flora: Eastern Slope and Colorado Flora: Western Slope are ideal for both student and scientist and essential for readers interested in Colorado's plant life.
The Colorado General Assembly is based on years of author John Straayer's first-hand observations, his review of original documents and secondary sources, and hundred of conversations with lawmakers, lobbyists, members of the legislative staff, executive branch personnel, and journalists.
In this lively, informative book, Straayer describes the formal structure of the Legislature, as well as the all-important process by which bills become or do not become law, and how the power center within the institution can move or kill legislative initiatives. He also examines the clout of the lobby corps, which outnumbers the elected lawmakers five to one; the way the Legislature dominates the budget process; and the manner by which divisions between the two parties, the two houses, and the legislative and executive branches impact the conduct of the public's business under Colorado's gold dome.
The Colorado General Assembly fills a major gap in our knowledge of state government. It will appeal to students and practitioners of politics as well as to those with general interest in civic life.
"This canyon world where water yearns toward the ocean is a place so large I can’t take it in. Instead, I am taken in, traveling a near dream as we journey by water, contained by rock walls. In order to see this shorn-away world, I narrow my vision to the small and nearly secret. Never mind the stone’s illusion of permanence or the great strength of water. I look to the most fragile of things here, to the plant world of the canyon. The other river travelers seem taken in by stone, time, and water, and do not see the small things that tempt my attention, the minute fern between stones, the tiny black snails in a pond of water. I am drawn in by the growing life and not by the passing."
- from 'Plant Journey' by Linda Hogan
The mystique of the Colorado River is no less enduring and powerful than is its physical presence in the landscape of the West. Little wonder that narratives about the Colorado still arouse and intrigue readers, or that the river continues to inspire new writing among contemporary authors. What is surprising is that no anthology offering a comprehensive introduction to these works existed - until now.
A Colorado River Reader spans hundreds of years and many cultures and voices to capture an array of responses to this mighty river and tributaries. The collection opens with a Paiute creation myth set in the Grand Canyon and progresses through time, encompassing the Spanish and American exploration narratives of the eighteenth and nineteenth centuries and culminating in the adventure and nature writings of the twentieth.
This is a book that deserves a place next to every armchair and in a pocket of every backpack.
In one comprehensive volume historian Derek Everett traces the establishment, planning, construction, and history of Colorado's state capitol - including a discussion on the importance of restoring and preserving the building for current and future generations of Coloradoans.
In each chapter of this book, you will find some questions, activities, and suggested reading to help you learn more of Colorado's story than we can present here. In these pages. you will discover a high, dry state with rugged natural beauty and an awesome history.
Each chapter is followed by questions, suggested activities, recommended reading, a "Did you know?" trivia section, and recommended websites, movies, and other multimedia that highlight the important concepts covered and lead the reader to more information. Additionally, the book is filled with photographs, making Colorado: The Highest State a fantastic text for middle and high school Colorado history courses.
This book will appeal to at students, non-lawyers involved with water issues, and general readers interested in Colorado’s complex water rights law.
The experiences of Colorado women differed greatly across economic, ethnic, and racial backgrounds. Marital status, religious affiliation, and sexual orientation colored their worlds and others' perceptions and expectations of them. Each chapter addresses the everyday lives of women in a certain period, placing them in historical context, and is followed by vignettes on women's organizations and notable individuals of the time.
Native American, Hispanic, African American, Asian and Anglo women's stories hail from across the state--from the Eastern Plains to the Front Range to the Western Slope--and in their telling a more complete history of Colorado emerges. Colorado Women makes a significant contribution to the discussion of women's presence in Colorado that will be of interest to historians, students, and the general reader interested in Colorado, women's and western history.
Four months before the attack on Pearl Harbor on December 7, 1941, Mildred McClellan Melville, a member of the Denver Woman’s Press Club, predicted that war would come for the United States and that its long arm would reach into the lives of all Americans. And reach it did. Colorado women from every corner of the state enlisted in the military, joined the workforce, and volunteered on the home front. As military women, they served as nurses and in hundreds of noncombat positions. In defense plants they riveted steel, made bullets, inspected bombs, operated cranes, and stored projectiles. They hosted USO canteens, nursed in civilian hospitals, donated blood, drove Red Cross vehicles, and led scrap drives; and they processed hundreds of thousands of forms and reports. Whether or not they worked outside the home, they wholeheartedly participated in a kaleidoscope of activities to support the war effort.
In Colorado Women in World War II Gail M. Beaton interweaves nearly eighty oral histories—including interviews, historical studies, newspaper accounts, and organizational records—and historical photographs (many from the interviewees themselves) to shed light on women’s participation in the war, exploring the dangers and triumphs they felt, the nature of their work, and the lasting ways in which the war influenced their lives. Beaton offers a new perspective on World War II—views from field hospitals, small steel companies, ammunition plants, college classrooms, and sugar beet fields—giving a rare look at how the war profoundly transformed the women of this state and will be a compelling new resource for readers, scholars, and students interested in Colorado history and women’s roles in World War II.
Hosokawa traces personal histories, such as Bob Sakata's journey from internment in a relocation camp to his founding of a prosperous truck farm; the conviction of three sisters for assisting the escape of German POWs; and the years of initiative and determination behind Toshihiro Kizaki's ownership of Sushi Den, a beloved Denver eatery. In addition to personal stories, the author also relates the larger history of the interweave of cultures in Colorado, from the founding of the Navy's Japanese language school at the University of Colorado to the merging of predominantly white and Japanese American congregations at Arvada's Simpson United Methodist Church.
With the author's long view and sharp eye, Colorado's Japanese Americans creates a storied document of lasting legacy about the Issei and Nisei in Colorado.
From 1840 to 1960 the profoundest claim of Americans who fought the institution of segregation was that the government had no business sorting citizens by the color of their skin. During these years the moral and political attractiveness of the antidiscrimination principle made it the ultimate legal objective of the American civil rights movement. Yet, in the contemporary debate over the politics and constitutional law of race, the vital theme of antidiscrimination has been largely suppressed. Thus a strong line of argument laying down one theoretical basis for the constitutional protection of civil rights has been lost.
Andrew Kull provides us with the previously unwritten history of the color-blind idea. From the arguments of Wendell Phillips and the Garrisonian abolitionists, through the framing of the Fourteenth Amendment and Justice Harlan's famous dissent in Plessy, civil rights advocates have consistently attempted to locate the antidiscrimination principle in the Constitution. The real alternative, embraced by the Supreme Court in 1896, was a constitutional guarantee of reasonable classification. The government, it said, had the power to classify persons by race so long as it acted reasonably; the judiciary would decide what was reasonable.
In our own time, in Brown v. Board of Education and the decisions that followed, the Court nearly avowed the rule of color blindness that civil rights lawyers continued to assert; instead, it veered off for political and tactical reasons, deciding racial cases without stating constitutional principle. The impoverishment of the antidiscrimination theme in the Court's decision prefigured the affirmative action shift in the civil rights agenda. The social upheaval of the 1960s put the color-blind Constitution out of reach for a quartercentury or more; but for the hard choices still to be made in racial policy, the colorblind tradition of civil rights retains both historical and practical significance.
Winner of the 2023 Association for Ethnic Studies Outstanding Book Award
A study of anti-Blackness and white supremacy across four continents demonstrates that colorblindness is neither new nor a subtype of racist ideology, but a constitutive technology of racism
In Colorblind Tools, Marzia Milazzo offers a transnational account of anti-Blackness and white supremacy that pushes against the dominant emphasis on historical change pervading current racial theory. This emphasis on change, she contends, misses critical lessons from the past.
Bringing together a capacious archive of texts on race produced in Brazil, Cuba, Mexico, Panama, the United States, and South Africa from multiple disciplines and genres, Milazzo uncovers transnational continuities in structural racism and white supremacist discourse from the inception of colonial modernity to the present. In the process, she traces the global workings of what she calls colorblind tools: technologies and strategies that at once camouflage and reproduce white domination. Whether examining Rijno van der Riet’s defense of slavery in the Cape Colony, discourses of racial mixture in Latin American eugenics and their reverberations in contemporary scholarship, the pitfalls of white “antiracism,” or Chicana indigenist aesthetics, Milazzo illustrates how white people collectively disavow racism to maintain power across national boundaries, and how anti-Black and colonial logics can be reproduced even in some decolonial literatures. Milazzo’s groundbreaking study proves that colorblindness is not new, nor is it a subtype of racist ideology or a hallmark of our era. It is a constitutive technology of racism—a tool the master cannot do without.
Gross draws on prison records, trial transcripts, news accounts, and rare mug shot photographs. Providing an overview of Philadelphia’s black women criminals, she describes the women’s work, housing, and leisure activities and their social position in relation to the city’s native-born whites, European immigrants, and elite and middle-class African Americans. She relates how news accounts exaggerated black female crime, trading in sensationalistic portraits of threatening “colored Amazons,” and she considers criminologists’ interpretations of the women’s criminal acts, interpretations largely based on notions of hereditary criminality. Ultimately, Gross contends that the history of black female criminals is in many ways a history of the rift between the political rhetoric of democracy and the legal and social realities of those marginalized by its shortcomings.
In 1858, Cyprian Clamorgan wrote a brief but immensely readable book entitled The Colored Aristocracy of St. Louis. The grandson of a white voyageur and a mulatto woman, he was himself a member of the "colored aristocracy." In a setting where the vast majority of African Americans were slaves, and where those who were free generally lived in abject poverty, Clamorgan's "aristocrats" were exceptional people. Wealthy, educated, and articulate, these men and women occupied a "middle ground." Their material advantages removed them from the mass of African Americans, but their race barred them from membership in white society.
The Colored Aristocracy of St. Louis is both a serious analysis of the social and legal disabilities under which African Americans of all classes labored and a settling of old scores. Somewhat malicious, Clamorgan enjoyed pointing out the foibles of his friends and enemies, but his book had a serious message as well. "He endeavored to convince white Americans that race was not an absolute, that the black community was not a monolith, that class, education, and especially wealth, should count for something."
Despite its fascinating insights into antebellum St. Louis, Clamorgan's book has been virtually ignored since its initial publication. Using deeds, church records, court cases, and other primary sources, Winch reacquaints readers with this important book and establishes its place in the context of African American history. This annotated edition of The Colored Aristocracy of St. Louis includes an introductory essay on African Americans in St. Louis before the Civil War, as well as an account of the lives of the author and the members of his remarkable family—a family that was truly at the heart of the city's "colored aristocracy" for four generations.
A witty and perceptive commentary on race and class, The Colored Aristocracy of St. Louis is a remarkable story about a largely forgotten segment of nineteenth-century society. Scholars and general readers alike will appreciate Clamorgan's insights into one of antebellum America's most important communities.
A hidden history connects India and the United States, the world’s two largest democracies. From the late nineteenth century through the 1960s, activists worked across borders of race and nation to push both countries toward achieving their democratic principles. At the heart of this shared struggle, African Americans and Indians forged bonds ranging from statements of sympathy to coordinated acts of solidarity. Within these two groups, certain activists developed a colored cosmopolitanism, a vision of the world that transcended traditional racial distinctions. These men and women agitated for the freedom of the “colored world,” even while challenging the meanings of both color and freedom.
“Slate exhaustively charts the liberation movements of the world’s two largest democracies from the 19th century to the 1960s. There’s more to this connection than the Rev. Martin Luther King Jr.’s debt to Mahatma Gandhi, and Slate tells this fascinating tale better than anyone ever has.”
—Tony Norman, Pittsburgh Post-Gazette
“Slate does more than provide a fresh history of the Indian anticolonial movement and the U.S. civil rights movement; his seminal contribution is his development of a nuanced conceptual framework for later historians to apply to studying other transnational social movements.”
—K. K. Hill, Choice
Lester A. Walton was a well-known public figure in his day. An African American journalist, cultural critic, diplomat, and political activist, he was an adviser to presidents and industrialists in a career that spanned the first six decades of the twentieth century. He was a steadfast champion of democracy and lived to see the passage of major civil rights legislation. But one word best describes Walton today: forgotten.
Exploring the contours of this extraordinary life, Susan Curtis seeks to discover why our collective memory of Walton has failed. In a unique narrative of historical research, she recounts a fifteen-year journey, from the streets of Harlem and “The Ville” in St. Louis to scattered archives and obscure public records, as she uncovers the mysterious circumstances surrounding Walton’s disappearance from national consciousness. And despite numerous roadblocks and dead ends in her quest, she tells how she came to know this emblematic citizen of the American Century in surprising ways.
In this unconventional book—a postmodern ghost story, an unprecedented experiment in life-writing—Curtis shares her discoveries as a researcher. Relating her frustrating search through long-overlooked documents to discover this forgotten man, she offers insight into how America’s obsession with race has made Walton’s story unwelcome. She explores the treachery, duplicity, and archival accidents that transformed a man dedicated to the fulfillment of American democracy into a shadowy figure.
Combining anecdotal memories with the investigative instincts of the historian, Curtis embraces the subjectivity of her research to show that what a society forgets or suppresses is just as important as what it includes in its history. Colored Memories is a highly original work that not only introduces readers to a once-influential figure but also invites us to reconsider how we view, understand, and preserve the past.
The Reverend Howard Finster was twenty feet tall, suspended in darkness. Or so he appeared in the documentary film that introduced a teenaged Greg Bottoms to the renowned outsider artist whose death would help inspire him, fourteen years later, to travel the country. Beginning in Georgia with a trip to Finster’s famous Paradise Gardens, his journey—of which The Colorful Apocalypse is a masterly chronicle—is an unparalleled look into the lives and visionary works of some of Finster’s contemporaries: the self-taught evangelical artists whose beliefs and oeuvres occupy the gray area between madness and Christian ecstasy.
With his prodigious gift for conversation and quietly observant storytelling, Bottoms draws us into the worlds of such figures as William Thomas Thompson, a handicapped ex-millionaire who painted a 300-foot version of the book of Revelation; Norbert Kox, an ex-member of the Outlaws biker gang who now lives as a recluse in rural Wisconsin and paints apocalyptic visual parables; and Myrtice West, who began painting to express the revelatory visions she had after her daughter was brutally murdered. These artists’ works are as wildly varied as their life stories, but without sensationalizing or patronizing them, Bottoms—one of today’s finest young writers—gets at the heart of what they have in common: the struggle to make sense, through art, of their difficult personal histories.
In doing so, he weaves a true narrative as powerful as the art of its subjects, a work that is at once an enthralling travelogue, a series of revealing biographical portraits, and a profound meditation on the chaos of despair and the ways in which creativity can help order our lives.
For half a century the Franciscan friar Bernardino de Sahagún (1499–1590), often described as the first anthropologist of the New World, worked with his indigenous colleagues at the Collegio Imperial at Tlatelolco (now Mexico City) on an encyclopedic compendium of the beliefs, rituals, language, arts, and economy of the vanishing culture of the Aztecs. Colors Between Two Worlds examines the most richly illustrated manuscript of this great ethnographic work, the Florentine Codex, which is in the collection of the Biblioteca Medicea Laurenziana in Florence, through the issue of color.
The Codex reveals how the colors the Aztecs used in their artistic production and in everyday life, as well as the names they gave each color, illuminate their understanding of the world around them, from the weather to the curing of disease. The pigments and dyes that indigenous artists used to illustrate the Codex reflect a larger dialogue between native and European cultures, which the Florentine Codex records more fully than any surviving document from colonial New Spain.
Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature.
Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose of certain thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art.
A major reevaluation of relationships among Blacks, Jews, and Irish in the years between the Irish Famine and the end of World War II, The Colors of Zion argues that the cooperative efforts and sympathies among these three groups, each persecuted and subjugated in its own way, was much greater than often acknowledged today. For the Black, Jewish, and Irish writers, poets, musicians, and politicians at the center of this transatlantic study, a sense of shared wrongs inspired repeated outpourings of sympathy. If what they have to say now surprises us, it is because our current constructions of interracial and ethnic relations have overemphasized conflict and division. As George Bornstein says in his Introduction, he chooses “to let the principals speak for themselves.”
While acknowledging past conflicts and tensions, Bornstein insists on recovering the “lost connections” through which these groups frequently defined their plights as well as their aspirations. In doing so, he examines a wide range of materials, including immigration laws, lynching, hostile race theorists, Nazis and Klansmen, discriminatory university practices, and Jewish publishing houses alongside popular plays like The Melting Pot and Abie’s Irish Rose, canonical novels like Ulysses and Daniel Deronda, music from slave spirituals to jazz, poetry, and early films such as The Jazz Singer. The models of brotherhood that extended beyond ethnocentrism a century ago, the author argues, might do so once again today, if only we bear them in mind. He also urges us to move beyond arbitrary and invidious categories of race and ethnicity.
Byron and Hitler were equally entranced by Rome’s most famous monument, the Colosseum. Mid-Victorians admired the hundreds of varieties of flowers in its crannies and occasionally shuddered at its reputation for contagion, danger, and sexual temptation. Today it is the highlight of a tour of Italy for more than three million visitors a year, a concert arena for the likes of Paul McCartney, and a national symbol of opposition to the death penalty. Its ancient history is chock full of romantic but erroneous myths. There is no evidence that any gladiator ever said “Hail Caesar, those about to die…” and we know of not one single Christian martyr who met his finish here.
Yet the reality is much stranger than the legend as the authors, two prominent classical historians, explain in this absorbing account. We learn the details of how the arena was built and at what cost; we are introduced to the emperors who sometimes fought in gladiatorial games staged at the Colosseum; and we take measure of the audience who reveled in, or opposed, these games. The authors also trace the strange afterlife of the monument—as fortress, shrine of martyrs, church, and glue factory. Why are we so fascinated with this arena of death?
An analysis of the hit television series Columbo and the investigative methods of its eponymous main character.
In the iconic detective show, which aired from 1968 to 2003, Lieutenant Columbo was known for his Socratic method of rhetorical inquiry. Feigning ignorance and employing a barrage of questions about minute details, the detective enacts a persona of “antipotency,” or counter authoritativeness, to affect the villains' underestimation of his attention to inconsistencies, abductive reasoning, and rhetorical efficacy. In his predominantly dialogue-based investigations, Columbo exhausts his suspects by asking a battery of questions concerning all minor details of the case—an aggravating, tedious provocation for the killer trying to maintain innocence.
In this engaging interdisciplinary study, Christyne Berzsenyi explores the character and his influences, dissects his methods of investigation, and assesses the show’s enduring legacy in academia and popular culture. While critical and theoretical, the text is also accessible to interdisciplinary readers, practical in application, and amusing for Columbo buffs.
Among the allied troops that came ashore in Normandy on D-Day, June 6, 1944, were thirteen Comanches in the 4th Infantry Division, 4th Signal Company. Under German fire they laid communications lines and began sending messages in a form never before heard in Europe—coded Comanche. For the rest of World War II, the Comanche Code Talkers played a vital role in transmitting orders and messages in a code that was never broken by the Germans.
This book tells the full story of the Comanche Code Talkers for the first time. Drawing on interviews with all surviving members of the unit, their original training officer, and fellow soldiers, as well as military records and news accounts, William C. Meadows follows the group from their recruitment and training to their active duty in World War II and on through their postwar lives up to the present. He also provides the first comparison of Native American code talking programs, comparing the Comanche Code Talkers with their better-known Navajo counterparts in the Pacific and with other Native Americans who used their languages, coded or not, for secret communication. Meadows sets this history in a larger discussion of the development of Native American code talking in World Wars I and II, identifying two distinct forms of Native American code talking, examining the attitudes of the American military toward Native American code talkers, and assessing the complex cultural factors that led Comanche and other Native Americans to serve their country in this way.
Writing timeless essays that capture vanished worlds and elusive perceptions, Stephen Harrigan is emerging as a national voice with an ever-expanding circle of enthusiastic readers. For those who have already experienced the pleasures of his writing—and especially for those who haven't—Comanche Midnight collects fifteen pieces that originally appeared in the pages of Texas Monthly, Travel Holiday, and Audubon magazines.
The worlds Harrigan describes in these essays may be vanishing, but his writing invests them with an enduring reality. He ranges over topics from the past glories and modern-day travails of America's most legendary Indian tribe to the poisoning of Austin's beloved Treaty Oak, from the return-to-the-past realism of the movie set of Lonesome Dove to the intimate, off-season languor of Monte Carlo.
If the personal essay can be described as journalism about that which is timeless, then Stephen Harrigan is a reporter of people, events, and places that will be as newsworthy years from now as they are today. Read Comanche Midnight and see if you don't agree.
The Comanche Vocabulary collected in Mexico during the years 1861-1864 by Manuel García Rejón is by far the most extensive Comanche word list compiled before the establishment of the Kiowa-Comanche-Apache Reservation in 1867. It preserves words and concepts that have since changed or even disappeared from the language, thus offering a unique historical window on earlier Comanche culture.
This translation adds the English equivalents to the original Spanish-Comanche list of 857 words, as well as a Comanche-English vocabulary and comparisons with later Comanche word lists. Daniel J. Gelo's introduction discusses the circumstances in which García Rejón gathered his material and annotates significant aspects of the vocabulary in light of current knowledge of Comanche language and culture. The book also includes information on pictography, preserving a rare sample of Comanche scapula drawing.
This information will help scholars understand the processes of language evolution and cultural change that occurred among all Native American peoples following European contact. The Comanche Vocabulary will also hold great interest for the large public fascinated by this once-dominant tribe.
West of the Four Corners and east of the Colorado River, in southeastern Utah, a unique one-hundred-mile-long, two-hundred-foot-high, serrated cliff cuts the sky. Whether viewed as barrier wall or sheltering sanctuary, Comb Ridge has helped define life and culture in this region for thousands of years. Today, the area it crosses is still relatively remote, though an important part of a scenic complex of popular tourist destinations that includes Natural Bridges National Monument and Grand Gulch just to the west, Glen Canyon National Recreation Area and Lake Powell a bit farther west, Canyonlands National Park to the north, Hovenweep National Monument to the east, and the San Juan River and Monument Valley to the south. Prehistorically Comb Ridge split an intensively used Ancient Puebloan homeland. It later had similar cultural—both spiritual and practical—significance to Utes, Paiutes, and Navajos and played a crucial role in the history of European American settlement. To tell the story of this rock that is unlike any other rock in the world and the diverse people whose lives it has affected, Robert S. McPherson, author of multiple books on Navajos and on the Four Corners region, draws on the findings of a major, federally funded project to research the cultural history of Comb Ridge. He carries the story forward to contention over present and future uses of Comb Ridge and the spectacular country surrounding it.
Loomis provides a clear and disturbing picture of military land-use planning and how it has affected residents in Nevada. He contends that a lack of citizen participation in the development of land-use plans is a weakness in the planning process and that both the military and the citizenry should take an active role to avoid future conflicts.
From the 1860s through the early twentieth century, Great Britain saw the rise of the department store and the institutionalization of a gendered sphere of consumption. Come Buy, Come Buy considers representations of the female shopper in British women’s writing and demonstrates how women’s shopping practices are materialized as forms of narrative, poetic, and cultural inscription, showing how women writers emphasize consumerism as productive of pleasure rather than the condition of seduction or loss. Krista Lysack examines works by Christina Rossetti, Mary Elizabeth Braddon, George Eliot, and Michael Field, as well as the suffragette newspaper Votes for Women, in order to challenge the dominant construction of Victorian femininity as characterized by self-renunciation and the regulation of appetite.
Come Buy, Come Buy considers not only literary works, but also a variety of archival sources (shopping guides, women’s fashion magazines, household management guides, newspapers, and advertisements) and cultural practices (department store shopping, shoplifting and kleptomania, domestic economy, and suffragette shopkeeping). With this wealth of sources, Lysack traces a genealogy of the woman shopper from dissident domestic spender to aesthetic connoisseur, from curious shop-gazer to political radical.
Bob Black was a member of Bill Monroe's Blue Grass Boys in the 1970s. Black's memoir of his time with the man he called the Chief offers the unique vantage point of a man who traveled and performed extensively with the Father of Bluegrass at a time when the music had opened up to new audiences--and Monroe had become a living legend.
Both role model and taskmaster, Monroe exerted a profound influence on Black and the musicians who have carried on the bluegrass tradition. In addition to Black's one-of-a-kind story, Come Hither to Go Yonder includes complete listing of Black's appearances with Monroe, recollections of the memorable experiences they shared while working together, descriptions of other important musicians and bands, and suggestions for further reading and listening.
Offering a rare perspective on the creative forces that drove one of America's greatest composers and musical innovators, Come Hither to Go Yonder rewards fans of Bill Monroe and bluegrass while offering an insider's view of a crucial time in the music's history.
After the bloodbath of Butcher’s Moon, the action-filled blowout Parker adventure, Donald Westlake said, "Richard Stark proved to me that he had a life of his own by simply disappearing. He was gone." And for nearly twenty-five years, he stayed away, while readers waited.
But nothing bad is truly gone forever, and Parker’s as bad as they come. According to Westlake, one day in 1997, “suddenly, he came back from the dead, with a chalky prison pallor”—and the resulting novel, Comeback, showed that neither Stark nor Parker had lost a single step. Knocking over a highly lucrative religious revival show, Parker reminds us that not all criminals don ski masks—some prefer to hide behind the wings of fallen angels.
Lyric theater in ancien régime France was an eminently political art, tied to the demands of court spectacle. This was true not only of tragic opera (tragédie lyrique) but also its comic counterpart, opéra comique, a form tracing its roots to the seasonal trade fairs of Paris. While historians have long privileged the genre’s popular origins, opéra comique was brought under the protection of the French crown in 1762, thus consolidating a new venue where national music might be debated and defined.
In The Comedians of the King, Julia Doe traces the impact of Bourbon patronage on the development of opéra comique in the turbulent prerevolutionary years. Drawing on both musical and archival evidence, the book presents the history of this understudied genre and unpacks the material structures that supported its rapid evolution at the royally sponsored Comédie-Italienne. Doe demonstrates how comic theater was exploited in, and worked against, the monarchy’s carefully cultivated public image—a negotiation that became especially fraught after the accession of the music-loving queen, Marie Antoinette. The Comedians of the King examines the aesthetic and political tensions that arose when a genre with popular foundations was folded into the Bourbon propaganda machine, and when a group of actors trained at the Parisian fairs became official representatives of the sovereign, or comédiens ordinaires du roi.
Cherene Sherrard-Johnson's introduction places this literary classic in both the new modernist and transatlantic contexts and will be embraced by those interested in earlytwentieth-century women writers, novels about passing, the Harlem Renaissance, the black/white divide, and diaspora studies. Selected essays and poems penned by Fauset are also included, among them "Yarrow Revisited" and "Oriflamme," which help highlight the full canon of her extraordinary contribution to literature and provide contextual background to the novel.
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