D. H. Lawrence: Self and Sexuality is a psychoanalytic study of D. H. Lawrence’s life and writings. James Cowan relies most notably the methods of Heinz Kohut, psychoanalytic “self psychology,” and employs as well the object relation theories of D. W. Winnicott and others. This work also examines sexual issues in Lawrence’s work from a literary and critical perspective, employing authoritative medical and psychoanalytic sources in human sexuality. Lawrence’s work, which was early read in traditional Freudian terms, has only recently been considered from other psychoanalytic perspectives. In this self psychological study, Cowan provides a new and path-breaking analysis of Lawrence.

Turning to several problematic issues of sexuality in Lawrence, the author first discusses a number of Lawrence’s sexual fallacies, and personal and cultural issues. Cowan also considers contrasting idealized and negative presentations of Mellors and Sir Clifford Chatterley in Lady Chatterley’s Lover, and the theme of the “loss of desire” sequence of poems in Pansies.

Croydon, England, was the setting of the famous three-way friendship of D. H. Lawrence, Jessie Chambers, and Helen Corke, all of whom made literary records of their association, and all of whom appeared as characters in Lawrence novels. Perhaps the most objective of these records were Helen Corke’s, which became difficult to acquire. Their scarcity and their continuing usefulness were the stimulus for publication of this volume, which contains in four statements Helen Corke’s “major comment on Lawrence the man and Lawrence the artist.”

The “Portrait of D. H. Lawrence, 1909–1910,” a section from Corke’s unpublished autobiography, gives the reader glimpses into the earliest stages of the Lawrence-Corke friendship, when Lawrence worked to bring meaning back into Corke’s life after she had suffered a tragic loss. The “Portrait” tells of conversations before a log fire, German lessons, the reading of poetry, and sessions over Lawrence’s manuscript “Nethermere,” which the publishers renamed The White Peacock. In “Portrait,” Corke tells of working with Lawrence on revising the proofs of this book, of Lawrence’s encouragement of her own literary efforts, of their wandering together in the Kentish hill country, and of her first meeting with Jessie Chambers.

“Lawrence’s ‘Princess’” continues the narrative of the triple friendship, carrying it to its sad ending, but with the focus on Jessie Chambers. Perceptively and sympathetically written, it throws a clarifying light on the psychology of Lawrence and presents with literary charm another human being—Jessie, the Miriam of Sons and Lovers.

In combined narrative-critique method, Corke, in the essay “Concerning The White Peacock,” relates Lawrence’s problems in writing this novel and gives an analysis of its literary quality.

Lawrence and Apocalypse is cast in the form of a “deferred conversation” in which Lawrence and Corke discuss his philosophical ideas as presented in his Apocalypse. Although the book was written to present Lawrence’s ideas, its significance reposes equally in Corke’s reaction to his thought. As a succinct statement of Lawrence’s teachings about the nature of humanity, it has unique value.

The Dada Painters and Poets offers the authentic answer to the question “What is Dada?” This incomparable collection of essays, manifestos, and illustrations was prepared by Robert Motherwell with the collaboration of some of the major Dada figures: Marcel Duchamp, Jean Arp, and Max Ernst among others. Here in their own words and art, the principals of the movement create a composite picture of Dada—its convictions, antics, and spirit.

First published in 1951, this treasure trove remains, as Jack D. Flam states in his foreword to the second edition, “the most comprehensive and important anthology of Dada writings in any language, and a fascinating and very readable book.” It contains every major text on the Dada movement, including retrospective studies, personal memoirs, and prime examples. The illustrations range from photos of participants, in characteristic Dadaist attitudes, to facsimiles of their productions.

When she's itty bitty and blond, wearing ribbons and curls and an aura of money, she's adorable and vulnerable, the tiny, innocent heart of our culture. But when the little girl comes from the working class, she's something else. Just what, and why so little is said about it, are the questions Valerie Walkerdine asks in Daddy's Girl, a book about how we see young girls, how they see themselves, and how popular culture mediates the view.

Walkerdine's study looks at little girls on television and in the movies, in advertisements and popular songs. In figures from Annie to Shirley Temple in any number of her plucky poor girl roles, she shows us little orphans saddled with the task of representing the self-sufficient working class on the one hand and the loveable object of middle class charity on the other. The real working class girl, whose fantasies feed on a strange mix of these images and the rest of what popular culture offers, with all its glamorized sex and violence, is also the object of Walkerdine's attention. Reflecting on her own working class roots and taking us into the homes and the confidence of working class girls today as they watch television and movies and listen to popular songs, she gives us a sense, at once troubling and poignant, of the portrayal and manipulation of little girls as a canny part of the production of civilized femininity.

At the center of this work is the issue of how girl children are taught to think of themselves and how their depiction puts them in their place. This concern leads Walkerdine to questions about television and parental control, about Freud's seduction theory and the origins of fantasy, about the political and erotic meaning of the ubiquitous gaze our culture trains on the little girl, and about academics' approach to the subject.

In a lively narrative that spans more than two centuries, Meredith Martin tells the story of a royal and aristocratic building type that has been largely forgotten today: the pleasure dairy of early modern France. These garden structures—most famously the faux-rustic, white marble dairy built for Marie-Antoinette’s Hameau at Versailles—have long been dismissed as the trifling follies of a reckless elite. Martin challenges such assumptions and reveals the pivotal role that pleasure dairies played in cultural and political life, especially with respect to polarizing debates about nobility, femininity, and domesticity. Together with other forms of pastoral architecture such as model farms and hermitages, pleasure dairies were crucial arenas for elite women to exercise and experiment with identity and power.

Opening with Catherine de’ Medici’s lavish dairy at Fontainebleau (c. 1560), Martin’s book explores how French queens and noblewomen used pleasure dairies to naturalize their status, display their cultivated tastes, and proclaim their virtue as nurturing mothers and capable estate managers. Pleasure dairies also provided women with a site to promote good health, by spending time in salubrious gardens and consuming fresh milk. Illustrated with a dazzling array of images and photographs, Dairy Queens sheds new light on architecture, self, and society in the ancien régime.

“On a bend, I will see it, a piece of ground off to the side. I will know the feel of this place: the leaves stir slowly on the trees, dry air smells like dust, birds dart and the trails are made by beasts living free.”

When award-winning author Charles Bowden died in 2014, he left behind a trove of unpublished manuscripts. Dakotah marks the landmark publication of the first of these texts, and the fourth installment in his acclaimed “Unnatural History of America.” Bowden uses America’s Great Plains as a lens—sometimes sullied, sometimes shattered, but always sharp—for observing pivotal moments in the lives of anguished figures, including himself.

In scenes that are by turns wrenching and poetic, Bowden describes the Sioux’s forced migrations and rebellions alongside his own ancestors’ migrations from Europe to Midwestern acres beset by unforgiving winters. He meditates on the lives of his resourceful mother and his philosophical father, who rambled between farm communities and city life. Interspersed with these images are clear-eyed, textbook-defying anecdotes about Lewis and Clark, Daniel Boone, and, with equal verve, twentieth-century entertainers “Pee Wee” Russell, Peggy Lee, and other musicians. The result is a kaleidoscopic journey that penetrates the senses and redefines the notion of heartland. Dakotah is a powerful ode to loss from one of our most fiercely independent writers.

Their meeting captured headlines; the waiting list for tickets was nearly 2000 names long. If you were unable to attend, this book will take you there. Including both the papers given at the conference, and the animated discussion and debate that followed, The Dalai Lama at MIT reveals scientists and monks reaching across a cultural divide, to share insights, studies, and enduring questions.

Is there any substance to monks’ claims that meditation can provide astonishing memories for words and images? Is there any neuroscientific evidence that meditation will help you pay attention, think better, control and even eliminate negative emotions? Are Buddhists right to make compassion a fundamental human emotion, and Western scientists wrong to have neglected it?

The Dalai Lama at MIT shows scientists finding startling support for some Buddhist claims, Buddhists eager to participate in neuroscientific experiments, as well as misunderstandings and laughter. Those in white coats and those in orange robes agree that joining forces could bring new light to the study of human minds.

This is the first biography of Dale L. Morgan, preeminent Western historian of the fur trade, historic trails, and the Latter Day Saint movement. The book explores how, despite personal struggles, Morgan committed his life to tracking down sources and interpreting the past on the strength of documentary evidence. Connecting Morgan’s life with some of the broad cultural changes that shaped his experiences, this book engages with methodological shifts in the historical profession, the mid-twentieth-century collision of interpretations within Latter Day Saint history, and the development of a descriptive, scholarly approach to that history.
 
Morgan’s body of work and commitment to serious scholarship signaled the start of new ways of understanding, studying, and retelling history, and he motivated a generation of historians from the 1930s to the 1970s to transform their historical approaches. Sounding board, mentor, and close friend to Nels Anderson, Fawn Brodie, Juanita Brooks, Bernard DeVoto, Wallace Stegner, and Leonard Arrington, Dale Morgan is the common factor linking this influential generation of mid-twentieth-century historians of western America.

A two-time Daley chief-of-staff, Forrest Claypool draws on his long career in local government to examine the lasting successes, ongoing dramas, and disastrous failures that defined Daley’s twenty-two years in City Hall. Throughout, Claypool uses Daley’s career to illustrate how effectual political leadership relies on an adept and unapologetic use of power--and how wielding that power without challenge inevitably pulls government toward corruption.

A warts-and-all account of a pivotal figure in Chicago history, The Daley Show tells the story of how Richard M. Daley became the quintessential big city mayor.

From the ruthless deals of the Ewing clan on TV's "Dallas" to the impeccable customer service of Neiman-Marcus, doing business has long been the hallmark of Dallas. Beginning in the 1920s and 1930s, Dallas business leaders amassed unprecedented political power and civic influence, which remained largely unchallenged until the 1970s.

In this innovative history, Patricia Evridge Hill explores the building of Dallas in the years before business interests rose to such prominence (1880 to 1940) and discovers that many groups contributed to the development of the modern city. In particular, she looks at the activities of organized labor, women's groups, racial minorities, Populist and socialist radicals, and progressive reformers—all of whom competed and compromised with local business leaders in the decades before the Great Depression.

This research challenges the popular view that business interests have always run Dallas and offers a historically accurate picture of the city's development. The legacy of pluralism that Hill uncovers shows that Dallas can accommodate dissent and conflict as it moves toward a more inclusive public life. Dallas will be fascinating and important reading for all Texans, as well as for all students of urban development.

The politics of building dams and levees and other structures are just part of the policies determining how American rivers are managed or mismanaged. America's well-being depends upon the health of those rivers and important decisions go beyond just dam-building or dam removal. American rivers are suffering from poor water quality, altered flows, and diminished natural habitat. Current efforts by policymakers to change the ways American rivers are managed range from the removal of dams to the simulation of seasonal flows to the restoration of habitat, all with varying degrees of success.

Efforts to restore American rivers are clearly delineated by William Lowry in Dam Politics as he looks at how public policy and rivers interact, examines the physical differences in rivers that affect policies, and analyzes the political differences among the groups that use them. He argues that we are indeed moving into an era of restoration (defined in part as removing dams but also as restoring the water quality, seasonal flows, and natural habitat that existed before structural changes to the rivers), and seeks to understand the political circumstances that affect the degree of restoration.

Lowry presents case studies of eight river restoration efforts, including dam removals on the Neuse and Kennebec rivers, simulation of seasonal flows on the Colorado river, and the failed attempt to restore salmon runs on the Snake river. He develops a typology of four different kinds of possible change—dependent on the parties involved and the physical complexity of the river—and then examines the cases using natural historical material along with dozens of interviews with key policymakers. Policy approaches such as conjunctive water management, adaptive management, alternative licensing processes, and water marketing are presented as possible ways of using our rivers more wisely.

Dam Politics provides a useful and systematic account of how American waterways are managed and how current policies are changing. American rivers are literally the lifeblood of our nation. Lowry has written a lively and accessible book that makes it clear as a mountain stream that it matters deeply how those rivers are managed.

Donald E. Westlake is one of the greats of crime fiction. Under the pseudonym Richard Stark, he wrote twenty-four fast-paced, hardboiled novels featuring Parker, a shrewd career criminal with a talent for heists. Using the same nom de plume, Westlake also completed a separate series in the Parker universe, starring Alan Grofield, an occasional colleague of Parker. While he shares events and characters with several Parker novels, Grofield is less calculating and more hot-blooded than Parker; think fewer guns, more dames.

Not that there isn’t violence and adventure aplenty. . The Dame finds Grofield in Puerto Rico protecting a rich, demanding woman in her isolated jungle villa, and reluctantly assuming the role of detective. A rare Westlake take on a whodunit, The Dame features a cast of colorful characters and a suspenseful—and memorable—climax.

With a new foreword by Sarah Weinman that situates the Grofield series within Westlake’s work as a whole, this novel is an exciting addition to any crime fiction fan’s library.

With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist.

Following introductory chapters that establish the theoretical basis of her arguments, Wager engages in close readings of the classic noirs The Killers, Out of the Past, and Kiss Me Deadly and the contemporary noirs L. A. Confidential, Mulholland Falls, Fight Club, Twilight, Fargo, and Jackie Brown. Wager divides recent films into retro-noirs (made in the present, but set in the 1940s and 1950s) and neo-noirs (made and set in the present but referring to classic noir narratively or stylistically). Going beyond previous studies of noir, her perceptive readings of these films reveal that retro-noirs fulfill a reactionary social function, looking back nostalgically to outdated gender roles and racial relations, while neo-noirs often offer more revisionary representations of women, though not necessarily of people of color.

Until the recent recognition of Deaf culture and the legitimacy of signed languages, majority societies around the world have classified Deaf people as “disabled,” a term that separates all persons so designated from the mainstream in a disparaging way. Damned for Their Difference offers a well-founded explanation of how this discrimination came to be through a discursive exploration of the cultural, social, and historical contexts of these attitudes and behavior toward deaf people, especially in Great Britain.

       Authors Jan Branson and Don Miller examine the orientation toward and treatment of deaf people as it developed from the 17th century through the 20th century. Their wide-ranging study explores the varied constructions of the definition of “disabled,” a term whose meaning hinges upon constant negotiation between parties, ensuring that no finite meaning is ever established. Damned for Their Difference provides a sociological understanding of disabling practices in a way that has never been seen before.

On any warm summer day, you can easily observe damselflies around a vegetated pond or the rocks along the banks of a stream. Like the more familiar dragonfly, damselflies are among the most remarkably distinctive insects in their appearance and biology, and they have become one of the most popular creatures sought by avocational naturalists.

Damselflies of Texas is the first field guide dedicated specifically to the species found in Texas. It covers 77 of the 138 species of damselflies known in North America, making it a very useful guide for the entire United States. Each species account includes:

• illustrations of as many forms (male, female, juvenile, mature, and color morphs) as possible
• common and scientific names, with pronunciation
• distribution map
• key features
• identifying characteristics
• discussion of similar species
• status in Texas
• habitat, seasonality, and general comments

In addition to photographing damselflies in the wild, the author and illustrator have developed a new process for illustrating each species by scanning preserved specimens and digitally painting them. The resulting illustrations show detail that is not visible in photographs. The book also contains chapters on damselfly anatomy, life history, conservation, names, and photography, as well as a list of species that may eventually be discovered in Texas, state and global conservation rankings, seasonality of all species in chronological order, and additional resources and publications on the identification of damselflies.

Generations of Texans have believed that “to dance is to live.” At rustic “play parties” and elegant cotillions, in tiny family dance halls and expansive urban honky-tonks, from historic beginnings to next Saturday night, Texans have waltzed, polkaed, schottisched, and shuffled their way across the state.

In Dance across Texas, internationally known dance instructor and writer Betty Casey takes an informal look at the history of Texas dancing and, in clear diagrams, photos, and detailed instructions, tells “how to” do more than twenty Texas dances.

Previously, little had been recorded about the history of dancing on the frontier. Journal and diary entries, letters, and newspaper clippings preserve enticing, if sketchy, descriptions of the types of dances that were popular. Casey uses a variety of sources, including interviews and previously unpublished historical materials, such as dance cards, invitations, and photographs, to give us a delightful look at the social context of dance. The importance of dance to early Texans is documented through colorful descriptions of clothing worn to the dances, of the various locations where dances were held, ranging from a formal hall to a wagon sheet spread on the ground, and of the hardships endured to get to a dance.

Also included in the historical section of Dance across Texas are notes on the “morality” of dance, the influence of country music on modern dance forms, and the popularity of such Texas dance halls and clubs as Crider’s and Gilley’s.

The instruction section of the book diagrams twenty-two Texas dances, including standard waltzes and two-steps as well as the Cotton-Eyed Joe, Put Your Little Foot, Herr Schmidt, the Western Schottische, and such “whistle’” or mixer dances as Paul Jones, Popcorn, and Snowball. Clear and detailed directions for each dance, along with suggested musical selections, accompany the diagrams and photos. Dance and physical education teachers and students will find this section invaluable, and aspiring urban cowboys can follow the easy-to-read diagrammed footsteps to a satisfying spin around the honky-tonk floor. Anyone interested in dance or in the history of social customs in Texas will find much to enjoy in this refreshing and often amusing look at a Texas “national” pastime.

This anthology brings together the late Barry A. Crouch's most important articles on the African American experience in Texas during Reconstruction. Grouped topically, the essays explore what freedom meant to the newly emancipated, how white Texans reacted to the freed slaves, and how Freedmen's Bureau agents and African American politicians worked to improve the lot of ordinary African American Texans. The volume also contains Crouch's seminal review of Reconstruction historiography, "Unmanacling Texas Reconstruction: A Twenty-Year Perspective." The introductory pieces by Arnoldo De Leon and Larry Madaras recapitulate Barry Crouch's scholarly career and pay tribute to his stature in the field of Reconstruction history.

The common explanation for the outbreak of World War I depicts Europe as a minefield of nationalism, needing only the slightest pressure to set off an explosion of passion that would rip the continent apart. But in a crucial reexamination of the outbreak of violence, Michael S. Neiberg shows that ordinary Europeans, unlike their political and military leaders, neither wanted nor expected war during the fateful summer of 1914. By training his eye on the ways that people outside the halls of power reacted to the rapid onset and escalation of the fighting, Neiberg dispels the notion that Europeans were rabid nationalists intent on mass slaughter. He reveals instead a complex set of allegiances that cut across national boundaries.

Neiberg marshals letters, diaries, and memoirs of ordinary citizens across Europe to show that the onset of war was experienced as a sudden, unexpected event. As they watched a minor diplomatic crisis erupt into a continental bloodbath, they expressed shock, revulsion, and fear. But when bargains between belligerent governments began to crumble under the weight of conflict, public disillusionment soon followed. Yet it was only after the fighting acquired its own horrible momentum that national hatreds emerged under the pressure of mutually escalating threats, wartime atrocities, and intense government propaganda.

Dance of the Furies gives voice to a generation who found themselves compelled to participate in a ghastly, protracted orgy of violence they never imagined would come to pass.

The common explanation for the outbreak of World War I depicts Europe as a minefield of nationalism, needing only the slightest pressure to set off an explosion of passion that would rip the continent apart. But in a crucial reexamination of the outbreak of violence, Michael S. Neiberg shows that ordinary Europeans, unlike their political and military leaders, neither wanted nor expected war during the fateful summer of 1914. By training his eye on the ways that people outside the halls of power reacted to the rapid onset and escalation of the fighting, Neiberg dispels the notion that Europeans were rabid nationalists intent on mass slaughter. He reveals instead a complex set of allegiances that cut across national boundaries.

Neiberg marshals letters, diaries, and memoirs of ordinary citizens across Europe to show that the onset of war was experienced as a sudden, unexpected event. As they watched a minor diplomatic crisis erupt into a continental bloodbath, they expressed shock, revulsion, and fear. But when bargains between belligerent governments began to crumble under the weight of conflict, public disillusionment soon followed. Yet it was only after the fighting acquired its own horrible momentum that national hatreds emerged under the pressure of mutually escalating threats, wartime atrocities, and intense government propaganda.

Dance of the Furies gives voice to a generation who found themselves compelled to participate in a ghastly, protracted orgy of violence they never imagined would come to pass.