A SCHOLARLY BOOK REPOSITORY
Essayist, editor, columnist, author of many books, and winner of a special Pulitzer Prize citation in 1958 for his powers of news analysis, Walter Lippmann both appraised and influenced twentieth-century American politics. No other author of the century dealt with the persistent problems of politics from so many approaches, was so widely read, or varied so widely in his conclusions.
Benjamin F. Wright’s study is the first book devoted to an exposition and analysis of Lippmann’s nine “books of political philosophy,” as James Reston called them. These books provide a fascinating study of changes in the political and economic ideas of the most important journalist of his time.
Lippmann’s books published in 1913 and 1914 reflect the optimism of the Progressive Era, of faith in science and in the ability of people to choose their goals and attain them. In 1922 and 1925, while editor of the New York World, Lippmann wrote searching, often pessimistic analyses of what he believed to be the prevailing assumptions regarding the nature and role of public opinion. Although in the Coolidge era he relegated government to a minor role as mediator, he became an enthusiastic defender of the achievements of the early New Deal. Two years later in a longer look, he found the same New Deal following the path toward totalitarianism. Keynes was discarded and his place taken by the economics of Adam Smith, bolstered by the common law of Coke and the Constitution of the founders. Finally, in 1955, in the extremely popular and very engaging Public Philosophy, there is a lament for the “decline of the West” and a plea to return to the age of civility and natural law.
In a final analytical chapter, Wright presents a critique of Lippmann’s historical understanding and the modern applications of the tradition of natural law. He also assesses Lippmann’s inability to translate the “public philosophy” into programs or institutional changes and the failure to account for the expansion of governmental functions together with the continued strength of constitutional democracy in the West.
As urban designers respond to the critical issue of climate change they must also address three cresting cultural waves: the worldwide rural-to-urban migration; the collapse of global fertility rates; and the disappearance of the middle class. In Five Rules for Tomorrow’s Cities, planning and design expert Patrick Condon explains how urban designers can assimilate these interconnected changes into their work.
Condon shows how the very things that constrain cities—climate change, migration, financial stress, population change—could actually enable the emergence of a more equitable and resource-efficient city. He provides five rules for urban designers: (1) See the City as a System; (2) Recognize Patterns in the Urban Environment; (3) Apply Lighter, Greener, Smarter Infrastructure; (4) Strengthen Social and Economic Urban Resilience; and (5) Adapt to Shifts in Jobs, Retail, and Wages.
In Five Rules for Tomorrow’s Cities, Condon provides grounded and financially feasible design examples for tomorrow’s sustainable cities, and the design tools needed to achieve them.
Outcome-based planning and evaluation (OBPE), with its straightforward approach built on a flexible framework, is the perfect model to enable youth services professionals to deliver effective services regardless of uncertainties. An outcome-based approach can help youth services stay grounded in producing desired outcomes with and for youth through responsive programs, services, and processes that can adapt to changing conditions. Clarifying the relationship between planning, program development, and evaluation, the five simple steps outlined in this book will help youth services staff conduct solid community assessments and integrate OBPE into their work. Inside its pages you will learn
- a short history of OBPE and its evolution;
- why it is crucially important to involve youth in all stages of program development, with guidance on navigating challenges;
- how to think about planning as the need to react quickly, whether due to natural or human-made disasters, changing demographics, or economic swings;
- the five steps of OBPE, from gathering information about your community and determining the outcomes that will serve your community to crafting accurate outcome statements, developing an evaluation plan, and maximizing the results of successful outcome-based programs;
- how to visualize the steps needed to successfully plan, implement, and evaluate an outcome-based program, using the template included in the book;
- ways to share your data to let people know the library’s important role in the community; and
- additional useful tools to bolster your work, including environmental scan forms and ideas for creating relevant family storytimes.
Narrating Mexico’s evolution of fire through five eras, historian Stephen J. Pyne describes the pre-human, pre-Hispanic, colonial, industrializing (1880–1980), and contemporary (1980–2015) fire biography of this diverse and dynamic country. Creatively deploying the Aztec New Fire Ceremony and the “five suns” that it birthed, Pyne addresses the question, “Why does fire appear in Mexico the way it does?” Five Suns tells the saga through a pyric prism.
Mexico has become one of the top ten “firepowers” in the world today through its fire suppression capabilities, fire research, and industrial combustion, but also by those continuing customary practices that have become increasingly significant to a world that suffers too much combustion and too little fire.
Five Suns completes a North American fire-history trilogy written by Pyne over the past 40 years, complementing his histories of Canada and the United States.
In the ten works he called fiable or fairy tales, Gozzi intermingled characters from the traditional and improvised commedia dell'arte with exotic figures of his own invention. During Gozzi's lifetime, Goethe and Schiller translated and produced some of his dramas at the Weimar Theatre. In our century, the dramas have reasserted themselves under the direction of Max Reinhardt, Vsevolod Meyerhold, George Devine, and Benno Besson, as well as in operatic adaptations by Puccini and Prokofiev.
The powerful conflicts, the idyllic and fearsome settings, and the startling transformations in these plays offer exceptional opportunities to actors, directors, and designers. The lively translations are faithful to Gozzi's Italian, while being eminently playable for English-speaking audiences today. Two of the translations have already had highly successful stagings by Andrei Serban at the American Repertory Theatre and on tour.
Leading researchers in neurology, sociology, anthropology, education, and psychology assess what is now commonly known as the five to seven year shift. They consider how development is influenced by changes in neurobiological subsystems; cognition, emotion, and self-concept; concerns with peers and families; and school and cultural practices. They find that important transitions in behavior and environment do take place in this period, and are best described in terms of the qualitative increase in complexity due to interactions among ecological systems.
This volume increases our understanding of both child development and the study and treatment of children at home and at school. It will interest researchers, clinicians, and students of psychology and education.
The genesis of the senseless tragedy, according to McDonough and Connelly, lay in the appointment of Hood to command the Army of Tennessee. It was his decision to throw a total force of some 20,000 men into an ill-advised frontal assault against the Union troops. The Confederates made their approach, without substantial artillery support, on a level of some two miles. Why did Hood select such a catastrophic strategy? The authors analyze his reasoning in full. Their vivid and moving narrative, with statements from eyewitnesses to the battle, make compelling reading for all Civil War buffs and historians.
Rather than analyzing works, careers, or histories, Greene discusses a broad swath of Renaissance and transatlantic literature—including Shakespeare, Cervantes, Camões, and Milton—in terms of the development of these five words. Aiming to shift the conversation around Renaissance literature from current approaches to riskier enterprises, Greene also proposes new methods that take advantage of digital resources like full-text databases, but still depend on the interpreter to fashion ideas out of ordinary language. Five Words is an innovative and accessible book that points the field of literary studies in an exciting new direction.
The story begins in 1950s America, when classic rock ’n’ roll was reaching middle age, and teenaged musicians kept its primal rawness going with rough-hewn instrumentals, practicing guitar riffs in their parents’ garages. In the mid-1960s came the Beatles and the British Invasion, and soon every neighborhood had its own garage band. Groups like the Sonics and 13th Floor Elevators burnt brightly but briefly, only to be rediscovered by a new generation of connoisseurs in the 1970s. Numerous compilation albums followed, spearheaded by Lenny Kaye’s iconic Nuggets, which resulted in garage rock’s rebirth during the 1980s and ’90s.
Be it the White Stripes or the Black Keys, bands have consistently found inspiration in the simplicity and energy of garage rock. It is a revitalizing force, looking back to the past to forge the future of rock ’n’ roll. And this, for the first time, is its story.
Proceeding from Hélène Cixous’s charge to “kill the false woman who is preventing the live one from breathing,” The Fix forges that woman’s reckoning with her violent past, with her sexuality, and with a future unmoored from the trappings of domestic life. These poems of lyric beauty and unflinching candor negotiate the terrain of contradictory desire—often to darkly comedic effect. In encounters with strangers in dive bars and on highway shoulders, and through ekphrastic engagement with visionaries like William Blake, José Clemente Orozco, and the Talking Heads, this book seeks the real beneath the dissembling surface. Here, nothing is fixed, but grace arrives by diving into the complicated past in order to find a way to live, now.
“Woman Seated with Thighs Apart”
Often I am permitted to return to this kitchen
tipsy, pinned to the fridge, to the precise
instant the kiss smashed in.
When the jaws of night are grinding
and the double bed is half asleep
the snore beside me syncs
to the traffic light, pulsing red, ragged up
in the linen curtain.
I leak such solicitous sighs
to asphalt, slicked with black ice, high beams speed
over my body whole
while the drugstore weeps its remedy
in strident neon throbs—
I doubt I’ll make it out.
It’s a cold country. It’s the sting of quarantine.
It’s my own two hands working
deep inside the sheets.
Since founding Fixup, a pop-up repair shop that brought her coverage in The New York Times, Salon, New York Public Radio, and more, Sandra Goldmark has become a leader in the movement to demand better “stuff.” She doesn’t just want to help us clear clutter—she aims to move us away from throwaway culture, to teach us to reuse and repurpose more thoughtfully, and to urge companies to produce better stuff. Although her goal is ambitious, the solution to getting there is surprisingly simple and involves all of us: have good stuff, not too much, mostly reclaimed, care for it, and pass it on.
Fixation charts the path to the next frontier in the health, wellness, and environmental movements—learning how to value stewardship over waste. We can choose quality items designed for a long lifecycle, commit to repairing them when they break, and shift our perspective on reuse and “preowned” goods. Together, we can demand that companies get on board. Goldmark shares examples of forward-thinking companies that are thriving by conducting their businesses sustainably and responsibly.
Passionate, wise, and practical, Fixation offers us a new understanding of stuff by building a value chain where good design, reuse, and repair are the status quo.
Trollope’s satiric portrayal of the statisticians who calculate the savings to be realized by putting the old people away before they become an expensive catastrophic burden, and the ironic presentation of the narrator’s justification of euthanasia by appeal to Christian practice and doctrine, will delight contemporary readers. Trollope’s strong dislike of government bureaucracy is evident throughout, as is his awareness of the dangers to the world of an imagined weapon of destruction not unlike (in its effect) the atomic bomb.
In making accessible the complete text of this work with corrections from the original manuscript, Super has performed an invaluable service for Trollope scholars and enthusiasts.
In this book, Zrinka Stahuljak challenges scholars in both medieval and translation studies to rethink how ideas and texts circulated in the medieval world. Whereas many view translators as mere conduits of authorial intention, Stahuljak proposes a new perspective rooted in a term from journalism: the fixer. With this language, Stahuljak captures the diverse, active roles medieval translators and interpreters played as mediators of entire cultures—insider informants, local guides, knowledge brokers, art distributors, and political players. Fixers offers nothing less than a new history of literature, art, translation, and social exchange from the perspective not of the author or state but of the fixer.
Rabig argues that fixers play dual roles. They support resistance, but also mediation; they fight for reform, but also more radical and far-reaching alternatives; they rally others to a collective cause, but sometimes they broker factions. Fixers reflect longer traditions of organizing while responding to the demands of their times. In so doing, they end up fixing (like a fixative) a new and enduring pattern of activist strategies, reforms, and institutional expectations—a pattern we continue to see today.
Fixin' Fish was first published in 1984. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Whether you catch it yourself or buy it, fish can be a delicious, nutritious meal or an experience you'd rather forget. Because fish are delicate and perishable, preserving their fresh-caught flavor requires careful handling. Fixin' Fish provides anglers and fish buyers with helpful techniques, not covered in most cookbooks, for handling, cleaning, preserving, preparing, and buying fish of all kinds. Topics covered include: maintaining the quality of fresh fish, building a smokehouse, smoking, canning, pickling, making fish jerky and caviar, and checking fish for parasites. Sport fishermen will find the section on field dressing and packing especially useful.
Minnesota and neighboring states have an abundance of fish that are usually overlooked as a food source. These underutilized fish, which include suckers, eelpout (burbot), carp, bullheads, herring, and freshwater drum, can be delicious if handled and prepared properly. The special techniques described in this book will help anyone make good use of this inexpensive and tasty source of protein.
Fixin' Fish is published by the University of Minnesota Sea Grant Extension Program. This new edition updates the text and adds information on parasites that can be found on freshwater fish in the Minnesota region.
For years a “closeted” NASCAR fan, Professor Jim Wright took advantage of a sabbatical in 1999 to attend stock-car races at seven of the Winston Cup’s legendary venues: Daytona, Indianapolis, Darlington, Charlotte, Richmond, Atlanta, and Talladega. The “Fixin’ to Git Road Tour” resulted in this book—not just a travelogue of Wright’s year at the races, but a fan’s valentine to the spectacle, the pageantry, and the subculture of Winston Cup racing.
Wright busts the myth that NASCAR is a Southern sport and takes on critics who claim that there’s nothing to racing but “drive fast, turn left,” revealing the skill, mental acuity, and physical stamina required by drivers and their crews. Mostly, though, he captures the experience of loyal NASCAR fans like himself, describing the drama in the grandstands—and in the bars, restaurants, parking lots, juke joints, motels, and campgrounds where race fans congregate. He conveys the rich, erotic sensory overload—the sights, the sounds, the smells, the feel—of weekends at the Winston Cup race tracks.
Advocates a cybersecurity “social contract” between government and business in seven key economic sectors
Cybersecurity vulnerabilities in the United States are extensive, affecting everything from national security and democratic elections to critical infrastructure and economy. In the past decade, the number of cyberattacks against American targets has increased exponentially, and their impact has been more costly than ever before. A successful cyber-defense can only be mounted with the cooperation of both the government and the private sector, and only when individual corporate leaders integrate cybersecurity strategy throughout their organizations.
A collaborative effort of the Board of Directors of the Internet Security Alliance, Fixing American Cybersecurity is divided into two parts. Part One analyzes why the US approach to cybersecurity has been inadequate and ineffective for decades and shows how it must be transformed to counter the heightened systemic risks that the nation faces today. Part Two explains in detail the cybersecurity strategies that should be pursued by each major sector of the American economy: health, defense, financial services, utilities and energy, retail, telecommunications, and information technology.
Fixing American Cybersecurity will benefit industry leaders, policymakers, and business students. This book is essential reading to prepare for the future of American cybersecurity.
- An overhaul of state pension systems that includes more reasonable benefits and raising of the retirement age, among other changes;
- Broadening of the tax base to include services and reductions in rates;
- Raising funds with capital construction bonds to update and integrate the antiquated information systems used by state agencies;
- Uprooting the state's entrenched culture of corruption via public financing of elections, redistricting reform, and revolving door prohibitions for lawmakers
Pointed, honest, and pragmatic, Fixing Illinois is a plan for effective and honest government that seeks an even nobler end: restoring our faith in Illinois's institutions and reviving a sense of citizenship and state pride.
Medical care prices in the United States are not only the most expensive in the world, but there are wide variations in what physicians are paid. Doctors at the frontlines of medical care who manage complex conditions argue that they receive disproportionately lower fees than physicians performing services such as minor surgeries and endoscopies. Fixing Medical Prices goes to the heart of the U.S. medical pricing process: to a largely unknown yet influential committee of medical organizations affiliated with the American Medical Association that advises Medicare. Medicare’s ready acceptance of this committee’s recommendations typically sets off a chain reaction across the entire American health care system.
For decades, the U.S. policymaking structure for pricing has reflected the influence of physician organizations. What Miriam Laugesen’s rich analysis shows is how these organizations navigate the arcane and complex work of this advisory committee. Contradicting the story of a profession in political decline, Fixing Medical Prices demonstrates that the power of physician organizations has simply become more subtle.
Laugesen’s investigation into the exorbitant cost of American medical care will be of interest to those who follow the politics of health care policy, the influence of interest groups on rate setting, and the medical profession’s past and future role in our health care system.
Drawing extensively on interviews with adults with intersex conditions, parents, and physicians, Karkazis moves beyond the heated rhetoric to reveal the complex reality of how intersexuality is understood, treated, and experienced today. As she unravels the historical, technological, social, and political forces that have culminated in debates surrounding intersexuality, Karkazis exposes the contentious disagreements among theorists, physicians, intersex adults, activists, and parents—and all that those debates imply about gender and the changing landscape of intersex management. She argues that by viewing intersexuality exclusively through a narrow medical lens we avoid much more difficult questions. Do gender atypical bodies require treatment? Should physicians intervene to control the “sex” of the body? As this illuminating book reveals, debates over treatment for intersexuality force reassessment of the seemingly natural connections between gender, biology, and the body.
A combination of button accordion and bajo sexto, conjunto originated in the Texas-Mexico borderlands as a popular dance music and became a powerful form of regional identity. Today, listeners and musicians around the world have embraced the genre and the work of conjunto masters like Flaco Jiménez and Mingo Saldívar.
Erin E. Bauer follows conjunto from its local origins through three processes of globalization--migration via media, hybridization, and appropriation--that boosted the music’s reach. As Bauer shows, conjunto’s encounter with globalizing forces raises fundamental questions. What is conjunto stylistically and socioculturally? Does context change how we categorize it? Do we consider the music to be conjunto based on its musical characteristics or due to its performance by Jiménez and other regional players? How do similar local genres like Tejano and norteño relate to ideas of categorization?
A rare look at a fascinating musical phenomenon, Flaco’s Legacy reveals how conjunto came to encompass new people, places, and styles.
Early in the Civil War, two young brothers boldly flew the Union flag from a tree atop a hill between Makanda and Cobden. This was a towering act of courage in an area teeming with Copperheads.
Theodore and Al Thompson, 18 and 20 years old at the time, raised the flag in defiance of the Knights of the Golden Circle, a secessionist group that operated throughout the Midwest. Controlling its membership through terror, this secret society condemned betrayers to death by torture. The Knights, whose goals included capturing a Union prison and liberating the rebels, triggered the Civil War riot in Charleston, instigated anti-draft movements, and aided Northern deserters.
Theodore Thompson, who later owned much of Makanda, Giant City, and the land that became Southern Illinois University describes the tree as a "tall tulip poplar between 3 and 4 feet in diameter at the trunk and some 60 feet to the first limbs. This noted tree could be seen in some directions 15 or 20 miles away."
In a new perspective on the formation of national identity in Central Europe, Nancy Wingfield analyzes what many historians have treated separately--the construction of the Czech and German nations--as a larger single phenomenon.
Czech and German nationalism worked off each other in dynamic ways. As external conditions changed, Czech and German nationalists found new uses for their pasts and new ways to stage them in public spaces for their ongoing national projects. These grassroots confrontations transformed public culture by reinforcing the centrality of nationality to everyday life and by tying nationalism to the exercise of power. The battles in the public sphere produced a cultural geography of national conflict associated with the unveiling of Joseph II statues that began in 1881, the Badeni Language Ordinances of 1897, the 1905 debate over a Czech-language university in Moravia, and the celebration of the emperor's sixtieth jubilee in 1908. The pattern of impassioned national conflict would be repeated for the duration of the monarchy and persist with even more violence into the First Czechoslovak Republic.
Numerous illustrations show how people absorbed, on many levels, visual clues that shaped how they identified themselves and their groups. This nuanced analysis is a valuable contribution to our understanding of Central European history, nationalism, and the uses of collective memory.
The subcultural practices of the "incurably informed," to borrow the cyberpunk novelist Pat Cadigan’s coinage, offer a precognitive glimpse of mainstream culture in the near future, when many of us will be part-time residents in virtual communities. Yet, as the essays in this expanded edition of a special issue of the South Atlantic Quarterly confirm, there is more to fringe computer culture than cyberspace. Within these pages, readers will encounter flame warriors; new age mutant ninja hackers; technopagans for whom the computer is an occult engine; and William Gibson’s "Agrippa," a short story on software that can only be read once because it gobbles itself up as soon as the last page is reached. Here, too, is Lady El, an African American cleaning woman reincarnated as an all-powerful cyborg; devotees of on-line swinging, or "compu-sex"; the teleoperated weaponry and amok robots of the mechanical performance art group, Survival Research Laboratories; an interview with Samuel Delany, and more.
Rallying around Fredric Jameson’s call for a cognitive cartography that "seeks to endow the individual subject with some new heightened sense of place in the global system," the contributors to Flame Wars have sketched a corner of that map, an outline for a wiring diagram of a terminally wired world.
Contributors. Anne Balsamo, Gareth Branwyn, Scott Bukatman, Pat Cadigan, Gary Chapman, Erik Davis, Manuel De Landa, Mark Dery, Julian Dibbell, Marc Laidlaw, Mark Pauline, Peter Schwenger, Vivian Sobchack, Claudia Springer
In the two sections of the book—“Inside” and “Outside”—parallelism and symmetry interact with themes both public and private. Flamenco Hips and Red Mud Feet presents thirty-nine poems in free verse and traditional poetic forms, especially the sonnet and adaptations of the sonnet. The sonnet—usually consisting of the octet (eight lines) that sets up the main idea of the poem and the sestet (six lines) that resolves, answers or completes the poem—is a natural form for a poet whose identity is divided. Double sonnets and “double-linked sonnets doubled” reflect the duality the poet feels inside her skin. And the poems written to and for a “lost sister” reinforce the theme.
Throughout this provocative book, Salazar navigates the alienation of her cultural in-between-ness. By the end, she appears to become more comfortable with her status of “outsider,” deciding that she doesn’t need to give in to pressures to pick a side or to accept others’ ideas of where her own “borders” begin or end.
An iconic symbol of Spain, flamenco has become a global phenomenon. Peter Manuel offers English-language readers a rare portrait of the music’s history, styles, and cultural impact. Beginning with flamenco’s Moorish and Roma influences, Manuel follows the music’s evolution through its consolidation in the mid-1800s and on to the vibrant contemporary scene. An investigation of flamenco’s major song-types looks at rhythm and compás, guitar technique, and many other aspects of the music while Manuel’s description and analysis of the repertoire range from soleares and bulerías to tangos. His overview of contemporary flamenco culture provides insight into issues that surround the music, including globalization, gender dynamics, notions of ownership, and the ongoing debates on purity versus innovation and the relative roles played by Gitanos and non-Gitanos.
Multifaceted and entertaining, Flamenco Music is an in-depth study of the indelible art form that inspires enthusiasts and practitioners around the world.
Holguín brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.
What happened in Kirven, Texas, in May 1922, has been forgotten by the outside world. It was a coworker's whispered words, "Kirven is where they burned the [Negroes]," that set Monte Akers to work at discovering the true story behind a young white woman's brutal murder and the burning alive of three black men who were almost certainly innocent of it. This was followed by a month-long reign of terror as white men killed blacks while local authorities concealed the real identity of the white probable murderers and allowed them to go free.
Writing nonfiction with the skill of a novelist, Akers paints a vivid portrait of a community desolated by race hatred and its own refusal to face hard truths. He sets this tragedy within the story of a region prospering from an oil boom but plagued by lawlessness, and traces the lynching's repercussions down the decades to the present day. In the new epilogue, Akers adds details that have come to light as a result of the book's publication, including an eyewitness account of the burnings from an elderly man who claimed to have castrated two of the men before they were lynched.
Flames from the Earth: A Novel from the Łódź Ghetto is an autobiographical novel written by Isaiah Spiegel, one of the most revered Yiddish authors to survive the Holocaust. Originally published in Israel in 1966, the novel brings together material that Spiegel wrote while imprisoned in the Łódź Ghetto, which he recovered from a cellar when he returned from Auschwitz after the war. The only works by Spiegel previously available to English readers have been short stories.
In this, his first novel, Spiegel explores a complex web of characters in and around the Łódź Ghetto: Vigdor and Gitele, lovers who are involved in the ghetto resistance movement; Nicodem, a Polish priest, who hides a member of the Jewish underground; Stefan Kaczmarek, a Polish tavern keeper who betrays Nicodem to preserve his own smuggling business; Franz Jessike, a Nazi guard who blackmails local Poles for personal gain; and Chaim Vidaver, the heroic leader of the ghetto resistance. Based largely on historical events, the novel’s lyrical style echoes its emotional intensity.
Gripping and atmospheric, Flames from the Earth honors daring acts of heroism and human connections forged amid unthinkable conditions. Spiegel’s novel represents an important contribution to the archive of literary depictions of historical trauma.
Shaped by fire for thousands of years, the forests of the western United States are as adapted to periodic fires as they are to the region's soils and climate. Our widespread practice of ignoring the vital role of fire is costly in both ecological and economic terms, with consequences including the decline of important fire-dependent tree and undergrowth species, increasing density and stagnation of forests, epidemics of insects and diseases, and the high potential for severe wildfires.
Flames in Our Forest explains those problems and presents viable solutions to them. It explores the underlying historical and ecological reasons for the problems associated with our attempts to exclude fire and examines how some of the benefits of natural fire can be restored Chapters consider:
- the history of American perceptions and uses of fire in the forest
- how forest fires burn
- effects of fire on the soil, water, and air
- methods for uncovering the history and effects of past fires
- prescribed fire and fuel treatments for different zones in the landscape
Flames in Our Forest presents a new picture of the role of fire in maintaining forests, describes the options available for restoring the historical effects of fires, and considers the implications of not doing so. It will help readers appreciate the importance of fire in forests and gives a nontechnical overview of the scientific knowledge and tools available for sustaining western forests by mimicking and restoring the effects of natural fire regimes.
As news of the fires spread around the world, journalist John Pickrell was inundated with requests for articles about the danger to Australia’s wildlife. The picture seemed grim, from charred koalas to flames that burned so hot not even animal skeletons remained. But Pickrell’s reporting exposed a larger picture of hope. Flames of Extinction tells the story of the scientists, wildlife rehabilitators, and community members who came together to save wildlife and protect them in the future.
As climate change intensifies and devastating wildfires become more commonplace, Australia’s Black Summer offers a poignant warning to the rest of the world. Through evocative and urgent storytelling, Flames of Extinction puts readers on the ground to witness the aftermath of one of Australia’s greatest tragedies and inside the inspiring effort to save lives.
Kight presents the flamingo in a concise and accessible way, introducing its detailed scientific history alongside what we know about its often hostile habitats and complex social behavior. She explores its genetic lineage and the confusions it has caused, and she details the significance it has had for many cultures, whether as a spiritual totem or a commercial symbol of the tropical life. She even explains how it gets its extraordinary color (hint: it has to do with its diet). A wonderful resource for any bird lover, Flamingo provides valuable insight into just what makes this flashy-feathered character so special.
In most cities today, fire has been reduced to a sporadic and isolated threat. But throughout history the constant risk of fire has left a deep and lasting imprint on almost every dimension of urban society. This volume, the first truly global study of urban conflagration, shows how fire has shaped cities throughout the modern world, from Europe to the imperial colonies, major trade entrepôts, and non-European capitals, right up to such present-day megacities as Lagos and Jakarta. Urban fire may hinder commerce or even spur it; it may break down or reinforce barriers of race, class, and ethnicity; it may serve as a pretext for state violence or provide an opportunity for displays of state benevolence. As this volume demonstrates, the many and varied attempts to master, marginalize, or manipulate fire can turn a natural and human hazard into a highly useful social and political tool.
As Cash demonstrates, O’Connor’s sheltered childhood, extraordinary intellect, spiritual certainty, and unique personality—including a wry sense of humor—combined not only to make her something of an outsider but also to foster her literary genius. As a child, her favorite activities were reading, writing stories, and drawing. Perhaps more unusual was her childhood feat of teaching a rooster to walk backwards. Her passion for exotic fowl later found expression in the peacock symbolism in her fiction.
The family moved to Milledgeville, Georgia, in 1938, and there O’Connor attended high school and college. She left the South in 1945 and entered the graduate writing program at the University of Iowa, where she completed several chapters of her first novel, Wise Blood. She went on to live at the Yaddo writers’ colony in Saratoga Springs, New York, and she might have spent her most creative years in the North if illness had not interfered. However, lupus—the same disease that had killed her father—forced her to return to Milledgeville, where she lived and wrote for the remaining fourteen years of her life under the protective care of her mother.
The latter chapters of Cash’s biography address O’Connor’s adjustment to her debilitating illness and to a more circumscribed existence. As Cash explains, she learned to accommodate her mother’s insular outlook, and in many ways her fiction profited artistically during this period. Her friendships and active correspondence added to the variety and vitality of her life. She also traveled widely on the lecture circuit and reviewed books for a local Catholic publication. Even in her illness and relative isolation in Milledgeville, O’Connor continued to live a richly rewarding and creative life.
The Author: Jean W. Cash is professor of English at James Madison University.
Flannery O'Connor - American Writers 54 was first published in 1966. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In any age, humans wrestle with apparently inexorable forces. Today, we face the threat of global terrorism. In the aftermath of September 11, few could miss sensing that a great evil was at work in the world. In Flannery O’Connor’s time, the threats came from different sources—World War II, the Cold War, and the Korean conflict—but they were just as real. She, too, lived though a “time of terror.” The first major critical volume on Flannery O’Connor’s work in more than a decade, Flannery O’Connor in the Age of Terrorism explores issues of violence, evil, and terror—themes that were never far from O’Connor’s reach and that seem particularly relevant to our present-day setting.
The fifteen essays collected here offer a wide range of perspectives that explore our changing views of violence in a post-9/11 world and inform our understanding of a writer whose fiction abounds in violence. Written by both established and emerging scholars, the pieces that editors Avis Hewitt and Robert Donahoo have selected offer a compelling and varied picture of this iconic author and her work. Included are comparisons of O’Connor to 1950s writers of noir literature and to the contemporary American novelist Cormac McCarthy; cultural studies that draw on horror comics of the Cold War and on Fordism and the American mythos of the automobile; and pieces that shed new light on O’Connor’s complex religious sensibility and its role in her work.
While continuing to speak fresh truths about her own time, O’Connor’s fiction also resonates deeply with the postmodern sensibilities of audiences increasingly distant from her era—readers absorbed in their own terrors and sense of looming, ineffable threats. This provocative new collection presents O’Connor’s work as a touchstone for understanding where our culture has been and where we are now. With its diverse approaches, Flannery O’Connor in the Age of Terrorism will prove useful not only to scholars and students of literature but to anyone interested in history, popular culture, theology, and reflective writing.
With his mastery of modernist technique and his depictions of characters obsessed with the past, Nobel laureate William Faulkner raised the bar for southern fiction writers. But the work of two later authors shows that the aesthetic of memory is not enough: Confederate thunder fades as they turn to an explicitly religious source of meaning.
According to John Sykes, the fiction of Flannery O’Connor and Walker Percy provides occasions for divine revelation. He traces their work from its common roots in midcentury southern and Catholic intellectual life to show how the two adopted different theological emphases and rhetorical strategies—O’Connor building to climactic images, Percy striving for dialogue with the reader—as a means of uncovering the sacramental foundation of the created order.
Sykes sets O’Connor and Percy against the background of the Southern Renaissance from which they emerged, showing not only how they shared a distinctly Christian notion of art that led them to see fiction as revelatory but also how their methods of revelation took them in different directions. Yet, despite their differences in strategy and emphasis, he argues that the two are united in their conception of the artist as “God’s sharp-eyed witness,” and he connects them with the philosophers and critics, both Christian and non-Christian, who had a meaningful influence on their work.
Through sustained readings of key texts—particularly such O’Connor stories as “The Artificial Nigger” and “The Geranium” and Percy’s novels Love in the Ruins and The Second Coming—Sykes focuses on the intertwined themes of revelation, sacrament, and community. He views their work in relation to the theological difficulties that they were not able to overcome concerning community. For both writers, the question of community is further complicated by the changing nature of the South as the Lost Cause and segregation lose their holds and a new form of prosperity arises.
By disclosing how O’Connor and Percy made aesthetic choices based on their Catholicism and their belief that fiction by its very nature is revelatory, Sykes demonstrates that their work cannot be seen as merely a continuation of the historical aesthetic that dominated southern literature for so long. Flannery O’Connor, Walker Percy, and the Aesthetic of Revelation is theoretically sophisticated without being esoteric and is accessible to any reader with a serious interest in these writers, brimming with fresh insights about both that clarify their approaches to art and enrich our understanding of their work.
The ways science and technology are portrayed in advertising, in the news, in our politics, and in the culture at large inform the way we respond to these particular facts of life. The better we are at recognizing the rhetorical intentions of the purveyors of information and promoters of mass culture, the more adept we become at responding intelligently to them.
Flash Effect, a startling book by David J. Tietge, documents the manner in which those at the highest levels of our political and cultural institutions conflated the rhetoric of science and technology with the rhetorics of religion and patriotism to express their policies for governance at the onset of the Cold War and to explain them to the American public.
Professor Tietge details our cultural attitudes about science in the early years of the Cold War, when on the heels of a great technological victory Americans were faced with the possibility of destruction by the very weapons that had saved them.
In Flash Effect we learn how, by symbolizing the scientist as both a father figure and a savior—and by celebrating the technological objects of his labor—the campaign to promote science took hold in the American consciousness. The products of that attitude are with us today more than ever.
Cazdyn focuses on three key moments of historical contradiction: colonialism, post-war reconstruction, and globalization. Considering great classics of Japanese film, documentaries, works of science fiction, animation, and pornography, he brings to light cinematic attempts to come to terms with the tensions inherent in each historical moment—tensions between the colonizer and the colonized, between the individual and the collective, and between the national and the transnational. Paying close attention to political context, Cazdyn shows how formal inventions in the realms of acting, film history and theory, thematics, documentary filmmaking, and adaptation articulate a struggle to solve implacable historical problems. This innovative work of cultural history and criticism offers explanations of historical change that challenge conventional distinctions between the aesthetic and the geopolitical.
Between Parker’s 1961 debut and his return in the late 1990s, the whole world of crime changed. Now fake IDs and credit cards had to be purchased from specialists; increasingly sophisticated policing made escape and evasion tougher; and, worst of all, money had gone digital—the days of cash-stuffed payroll trucks were long gone.
But cash isn’t everything: Flashfire and Firebreak find Parker going after, respectively, a fortune in jewels and a collection of priceless paintings. In Flashfire, Parker’s in West Palm Beach, competing with a crew that has an unhealthy love of explosions. When things go sour, Parker finds himself shot and trapped—and forced to rely on a civilian to survive. Firebreak takes Parker to a palatial Montana "hunting lodge" where a dot-com millionaire hides a gallery of stolen old masters—which will fetch Parker a pretty penny if his team can just get it past the mansion’s tight security. The forests of Montana are an inhospitable place for a heister when well-laid plans fall apart, but no matter how untamed the wilderness, Parker’s guaranteed to be the most dangerous predator around.
Excerpt from Flatlanders and Ridgerunners:
Out-Riddling the Judge
Back in Prohibition my uncle made moonshine. His name was Moses Kenny and his whiskey--they called it “White Mule” was the best in the county. Well, the feds got after him and finally they arrested him. Took him to a federal judge down in Philadelphia.
Now, the judge liked a good time and thought he’d have a little fun with this hick from the mountains. When Uncle came into court, he said, “are you the Moses who can make the sun dark?”
Moses looked at him and said slowly, “Nope, your honor. But I am the Moses who can make the moon shine.”
The judge let him go.
A group of three friends who made music in a house in Lubbock, Texas, recorded an album that wasn’t released and went their separate ways into solo careers. That group became a legend and then—twenty years later—a band. The Flatlanders—Joe Ely, Jimmie Dale Gilmore, and Butch Hancock—are icons in American music, with songs blending country, folk, and rock that have influenced a long list of performers, including Robert Earl Keen, the Cowboy Junkies, Ryan Bingham, Terry Allen, John Hiatt, Hayes Carll, Lucinda Williams, Steve Earle, and Lyle Lovett.
In The Flatlanders: Now It’s Now Again, Austin author and music journalist John T. Davis traces the band’s musical journey from the house on 14th Street in Lubbock to their 2013 sold-out concert at Carnegie Hall. He explores why music was, and is, so important in Lubbock and how earlier West Texas musicians such as Buddy Holly and Roy Orbison, as well as a touring Elvis Presley, inspired the young Ely, Gilmore, and Hancock. Davis vividly recreates the Lubbock countercultural scene that brought the Flatlanders together and recounts their first year (1972–1973) as a band, during which they recorded the songs that, decades later, were released as the albums More a Legend Than a Band and The Odessa Tapes. He follows the three musicians through their solo careers and into their first decade as a (re)united band, in which they cowrote songs for the first time on the albums Now Again and Hills and Valleys and recovered their extraordinary original demo tape, lost for forty years. Many roads later, the Flatlanders are finally both a legend and a band.
Flatlined lifts the veil of secrecy on twenty-first century health care and delves into the realities of good people caught in a bad medical system. Dr. Guy L. Clifton, a practitioner as well as a policy advocate, reveals first-hand accounts of needless tragedy, such as the young man who died after a car wreck for lack of a bed in a qualified hospital and the surgeon who was dejected by the scarcity of resources needed to enable him to perform heart surgery on an uninsured man.
Arguing that a lack of coordinated care and quality medical practice benchmarks result in high levels of redundancy and ineffectiveness, Clifton proposes that the key to reducing health care costs, improving quality, and financially protecting the uninsured, is to reduce wastefulness, and offers a solution for achieving success.
Flatlined sounds the warning call: By 2018 Medicare and Medicaid will consume about one-third of the federal budget. American businesses now pay three times as much of their payroll for health care as global competitors, expected to worsen as health care grows at twice the rate of the U.S. economy. Based on his years of experience in policy and medicine, Clifton offers an attainable solution through the development of an American Medical Quality System.
-Film Quarterly
"From Back to the Future to Forrest Gump, Nadel shows not only how notions of cinematic time re-script political change but how our very conceptualizations of change are thematized by our experiences of watching movies. This is not simply film history, or film as history, but film affirming "history" in the same way that Ronald Reagan affirmed film narratives."
-Susan Jeffords, University of Washington
"Flatlining on the Field of Dreams brilliantly restages the cultural narratives associated with Reaganism within a neo-imperialist cinematic space and reveals the heretofore unexamined role class played in the reproduction of those narratives."
-Donald E. Pease, Dartmouth College
Flatlining on the Field of Dreams demonstrates, with witty prose and careful analysis, how the overindulgent, image-conscious years of the Reagan administration are reflected in sundry aspects of American films produced during that era. Discussing dozens of films, including Home Alone, Beetlejuice, Ghost, The Little Mermaid, Working Girl, Who Framed Roger Rabbit?, and Trading Places, Alan Nadel identifies narratives about credit, deregulation, gender, race, and masculinity that defined "President Reagan's America." Linking the way Hollywood films work to the stories they tell, he explains how the ideas and values of Reaganism became the symbolic food of a hyper-consumptive society. The book provides hard-to-ignore demonstrations of the extensive synergy between politics, history, and popular culture.
Higman looks at the ways that humans have perceived the natural world around them, moving from Flat Earth theories to abstract geometric concepts to the flatness problem of modern cosmology. Along the way he shows that we have simultaneously sought flatness in our everyday lives and also disparaged it as a featureless, empty, and monotonous quality. He discusses the ways flatness figures as a metaphor for those things or people who are boring, dull, or lacking energy or inspiration, and he shows how the construction of flat surfaces has contributed to a degradation of visual diversity. At the same time, he also shows how we have pursued flatness as an engineering ideal and how we have used it conceptually in art, music, and literature.
Written with wit and wisdom, and splendidly illustrated throughout, this book will appeal to all those who are interested in the topography of the modern world, to anyone who has ever marveled at the feel of its smooth surfaces or felt oppressed by the tyranny of its featurelessness.
Flattening the Earth is the first detailed history of map projections since 1863. John P. Snyder discusses and illustrates the hundreds of known projections created from 500 B.C. to the present, emphasizing developments since the Renaissance and closing with a look at the variety of projections made possible by computers.
The book contains 170 illustrations, including outline maps from original sources and modern computerized reconstructions. Though the text is not mathematically based, a few equations are included to permit the more technical reader to plot some projections. Tables summarize the features of nearly two hundred different projections and list those used in nineteenth-and twentieth-century atlases.
"This book is unique and significant: a thorough, well-organized, and insightful history of map projections. Snyder is the world's foremost authority on the subject and a significant innovator in his own right."—Mark Monmonier, author of How to Lie with Maps and Mapping It Out: Expository Cartography for the Humanities and Social Sciences.
Michel Winock’s biography situates Gustave Flaubert’s life and work in France’s century of great democratic transition. Flaubert did not welcome the egalitarian society predicted by Tocqueville. Wary of the masses, he rejected the universal male suffrage hard won by the Revolution of 1848, and he was exasperated by the nascent socialism that promoted the collective to the detriment of the individual. But above all, he hated the bourgeoisie. Vulgar, ignorant, obsessed with material comforts, impervious to beauty, the French middle class embodied for Flaubert every vice of the democratic age. His loathing became a fixation—and a source of literary inspiration.
Flaubert depicts a man whose personality, habits, and thought are a stew of paradoxes. The author of Madame Bovary and Sentimental Education spent his life inseparably bound to solitude and melancholy, yet he enjoyed periodic escapes from his “hole” in Croisset to pursue a variety of pleasures: fervent friendships, society soirées, and a whirlwind of literary and romantic encounters. He prided himself on the impersonality of his writing, but he did not hesitate to use material from his own life in his fiction. Nowhere are Flaubert’s contradictions more evident than in his politics. An enemy of power who held no nostalgia for the monarchy or the church, he was nonetheless hostile to collectivist utopias.
Despite declarations of the timelessness and sacredness of Art, Flaubert could not transcend the era he abominated. Rejecting the modern world, he paradoxically became its celebrated chronicler and the most modern writer of his time.
Finalist, 2006 National Book Critics Circle Awards, Biography Category | A New York Times Notable Book of 2006 | A Publishers Weekly Best Book of 2006
In this riveting landmark biography, Frederick Brown illuminates the life and career of the author of Madame Bovary. He describes Flaubert’s fraught relationship with his longtime mistress Louise Colet, his liaisons with many other women, and his friendships with luminaries such as Turgenev and Zola. Here too is Brown’s description of Flaubert’s meticulous compositional habits, his painstaking search for the sentence that is deeply, rhythmically right.
Brown brings his subject remarkably and fully to life, illuminating not only the novelist but also his milieu—the Paris and Normandy of the revolution of 1848 and of the Second Empire—with arresting clarity and a deepening sense of Flaubert’s time and place. Flaubert is a sophisticated, thorough, and utterly absorbing re-creation of the life and times of the man who is arguably the architect of the modern novel.
In Flavor and Soul, John Gennari spotlights this affinity, calling it “the edge”—now smooth, sometimes serrated—between Italian American and African American culture. He argues that the edge is a space of mutual emulation and suspicion, a joyous cultural meeting sometimes darkened by violent collision. Through studies of music and sound, film and media, sports and foodways, Gennari shows how an Afro-Italian sensibility has nourished and vitalized American culture writ large, even as Italian Americans and African Americans have fought each other for urban space, recognition of overlapping histories of suffering and exclusion, and political and personal rispetto.
Thus, Flavor and Soul is a cultural contact zone—a piazza where people express deep feelings of joy and pleasure, wariness and distrust, amity and enmity. And it is only at such cultural edges, Gennari argues, that America can come to truly understand its racial and ethnic dynamics.
While in many ways the first edition of The Flavor of Wisconsin has stood the test of time very well, food-related culture and business have changed immensely in the twenty-five years since its publication. Well-known regional food expert and author Terese Allen examines aspects of food, cooking, and eating that have changed or emerged since the first edition, including the explosion of farmers' markets; organic farming and sustainability; the "slow food" movement; artisanal breads, dairy, herb growers, and the like; and how relatively recent immigrants have contributed to Wisconsin's remarkably rich food scene.
What are some food favorites in Wisconsin, and why are they special to us? How have our landscape and the people who have inhabited it contributed to our food heritage? This unique blend of history book and cookbook gives kids a real taste for hands-on history by showing them how to create and sample foods that link us to the resources found in our state and the heritage of those who produce them.
Designed for kids and adults to use together, The Flavor of Wisconsin for Kids draws upon the same source material that makes The Flavor of Wisconsin by Harva Hachten and Terese Allen a fascinating and authoritative document of the history and traditions of food in our state, and presents it in a colorful, kid-friendly format that’s both instructional and fun. Mindful of the importance of teaching kids about where the foods they eat come from, each chapter examines a different food source—forests; waters; vegetable, meat, and dairy farms; gardens; and communities. The authors explore our state’s foodways, from their origins to how they have changed over the years, and then offer a selection of related recipes. The recipes are written for modern kitchens but use many traditional ingredients and techniques. Level of difficulty is clearly noted, as well as whether a recipe requires a heat source to prepare.
Flawed System/Flawed Self delves beneath these staggering numbers to explore the world of job searching and unemployment across class and nation. Through in-depth interviews and observations at job-search support organizations, Ofer Sharone reveals how different labor-market institutions give rise to job-search games like Israel’s résumé-based “spec games”—which are focused on presenting one’s skills to fit the job—and the “chemistry games” more common in the United States in which job seekers concentrate on presenting the person behind the résumé. By closely examining the specific day-to-day activities and strategies of searching for a job, Sharone develops a theory of the mechanisms that connect objective social structures and subjective experiences in this challenging environment and shows how these different structures can lead to very different experiences of unemployment.
Distinguished by its unconventional approach and extraordinary range, this beautifully written book offers new insights into the works—and times—of poets writing between the death of Shakespeare and the execution of Charles I. Well over a hundred original readings provide illuminating discussions of the “canonical” poets such as Milton, Herbert, and Jonson, as well as enlightening reevaluations of many “minor” poets, including Herrick, Waller, and Lovelace. The discussion is organized around five themes: Counselors and Kings, Poets, Life and Death, The Commonwealth, and Men and Women. This organization allows Hammond to use shared references and images in the works to reveal previously unsuspected connections between poems of very different schools, and to illustrate in considerable depth how seventeenth-century poetry reflects the political, social, religious, and sexual experience of the uncertain pre-Restoration years. The book has a subtle, almost musical structure; each chapter quietly picks up the threads of discussion in previous chapters. The result is a seamlessly woven narrative that guides the reader lightly, never intruding on the reading of the poetry itself.
Seventeenth-century poets betray a reluctance to separate life from art; many of their poems are about apparently trivial or unfamiliar things—the “fleeting things” of the title. Gerald Hammond has used his rare knowledge of the period to unlock images and references that have previously been overlooked or misunderstood, creating a fresh view of the poetry—and poets—of this fascinating period.
For centuries, anatomy was a fundamental component of artistic training, as artists such as Leonardo da Vinci and Michelangelo sought to skillfully portray the human form. In Europe, illustrations that captured the complex structure of the body—spectacularly realized by anatomists, artists, and printmakers in early atlases such as Andreas Vesalius’s De humani corporis fabrica libri septem of 1543—found an audience with both medical practitioners and artists.
Flesh and Bones examines the inventive ways anatomy has been presented from the sixteenth through the twenty-first century, including an animated corpse displaying its own body for study, anatomized antique sculpture, spectacular life-size prints, delicate paper flaps, and 3-D stereoscopic photographs. Drawn primarily from the vast holdings of the Getty Research Institute, the over 150 striking images, which range in media from woodcut to neon, reveal the uncanny beauty of the human body under the skin.
This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from February 22 to July 10, 2022.
In The Flesh Between Us the speaker explores our connections to each other, whether they be lovely or painful, static or constantly shifting, or, above all, unavoidable and necessary. Intensely and unapologetically homoerotic in content and theme, The Flesh Between Us sensuously conducts the meetings between strangers, between lovers, between friends and family, between eater and eaten, between the soul and the body that contains it. Pushing the boundaries of what has been traditionally acceptable for gay and erotic content and themes, the poems adapt persona, Greek mythology, Judaism, and classic poetic forms to interrogate the speaker’s relationship to god and faith, to love and sex, to mother and father.
Stark and mythical, the imagery draws from the language of animals and nature. Episodes of kink tangle with creatures of forests and lore. In this tumult, the lines of poetry keep a sense of boundary and distance by the seeming incompatibility of their subjects: daybreak and dissection, human and insect, worship and reality. The touch of irreconcilable bodies, in Adkisson’s language, intimates the precise moment of love. The idea of love moves viscerally through rib, lung, throat, and mouth. The poems show how flesh opens in so many ways, in prayers, in bleeds, in ruts. The flesh, opened, begins to swell. If there is guilt in this, Adkisson’s poems refuse the placid satisfaction of confession. Whatever attachments the reader dares to draw must be made with blade or tongue. The reader must commit to the potential violence narrated by these poems.
In the fourth century a new narrative genre captured the imagination of the faithful—the moving accounts of the lives of Christian saints. Willing to die gruesome deaths or endure constant suffering, saints conveyed a powerful message: God was still present in the world. He continues to manifest His powers and communicate His messages through His special friends—the saints. What kind of Christianity do we find in these stories? In this original and provocative work, Aviad Kleinberg argues that the saints’ stories of medieval Europe were more than edifying entertainment; they retain an alternative theology, often quite different from the formal theology of the Church. By telling and retelling the story of virtue and salvation, by expanding the religious imagination of the West, they were shaping and reshaping Christianity itself.
In this study of stories from the fourth through the fourteenth centuries, we meet the tender Perpetua bidding farewell to her infant son, Simeon Stylites turning himself into a rotting corpse, Francis of Assisi finding joy in suffering, and Fra Ginepro playing the fool, for Christ. We meet holy anchorites, headstrong virgins, fearless dragon slayers, and scheming politicians. Kleinberg unveils the inner contradictions, the subversive ideas, and the deadly power games that lay behind the making of the Western imagination. People, ideas, and passions—often relegated to the back pews—take center stage in this daring book. This is a story of how stories change lives.
How animation can reconnect us with bodily experiences
Film and media studies scholarship has often argued that digital cinema and CGI provoke a sense of disembodiment in viewers; they are seen as merely fantastic or unreal. In her in-depth exploration of the phenomenology of animation, Sandra Annett offers a new perspective: that animated films and digital media in fact evoke vivid embodied sensations in viewers and connect them with the lifeworld of experience.
Starting with the emergence of digital technologies in filmmaking in the 1980s, Annett argues that contemporary digital media is indebted to the longer history of animation. She looks at a wide range of animation—from Disney films to anime, electro swing music videos to Vocaloids—to explore how animation, through its material forms and visual styles, can evoke bodily sensations of touch, weight, and orientation in space. Each chapter discusses well-known forms of animation from the United States, France, Japan, South Korea, and China, examining how they provoke different sensations in viewers, such as floating and falling in Howl’s Moving Castle and My Beautiful Girl Mari, and how the body is mediated in films that combine animation and live action, as seen in Who Framed Roger Rabbit and Song of the South. These films set the stage for an exploration of how animation and embodiment manifest in contemporary global media, from CGI and motion capture in Disney’s “live action remakes” to new media installations by artists like Lu Yang.
Leveraging an array of case studies through a new approach to film phenomenology, The Flesh of Animation offers an enlightening discussion of why animation provides a sensational experience for viewers not replicable through other media forms.
The anthology incorporates different genres of writing—such as poetry, testimonials, critical essays, and historical analysis—and stimulates the reader to engage spirituality in a critical, personal, and creative way. This interdisciplinary work is the first that attempts to theorize the radical interconnection between women of color, spirituality, and social activism. Before transformative political work can be done, the authors say in multiple ways, we must recognize that our spiritual need is a desire to more fully understand our relations with others. Conflict experienced on many levels sometimes severs those relations, separating us from others along racial, class, gender, sexual, national, or other socially constructed lines.
Fleshing the Spirit offers a spiritual journey of healing, health, and human revolution. The book’s open invitation to engage in critical dialogue and social activism—with the spirit and spirituality at the forefront—illuminates the way to social change and the ability to live in harmony with life’s universal energies.
Contributors
Volume Editors
Elisa Facio
Irene Lara
Chapter Authors
Angelita Borbón
Norma E. Cantú
Berenice Dimas
C. Alejandra Elenes
Alicia Enciso Litschi
Oliva M. Espín
Maria Figueroa
Patrisia Gonzales
Inés Hernández- Avila
Rosa María Hernández Juárez
Cinthya Martinez
Lara Medina
Felicia Montes
Sarahi Nuñez- Mejia
Laura E. Pérez
Brenda Sendejo
Inés Talamantez
Michelle Téllez
Beatriz Villegas
Andre Penicaut, a carpenter, sailed with Iberville to the French province of Louisiana in 1699 and did not return to France until 1721. The book he began in the province and finished upon his return to France is an eyewitness account of the first years of the French colony, which stretched along the Gulf Coast from Florida to Texas and in the Mississippi Valley from the Balize to the Illinois country. As a ship carpenter, Penicaut was chosen as a member of several important expeditions: he accompanied Le Sueur up the Mississippi River in 1700 to present-day Minnesota, and he went with Juchereau de St. Denis on the first journey from Mobile to the Red River and overland to the Rio Grande, to open trade with the Spaniards in Mexico. Penicaut helped to build the first post in Louisiana, at Old Biloxi, and the second post on the Mobile River.
Penicaut was at his best when describing the lives and social customs of the Indians of the region. He saw them in realistic terms, showing no prejudice toward their native habits. Neither were his French colleagues cast in heroic or villainous molds—though their accomplishments must strike modern readers as truly epic.
When first published, Fleur de Lys and Calumet was a major stimulus to scholarship in the field. This new edition will be welcomed by a new generation of scholars and readers interested in the colonial history of the Deep South and the Mississippi Valley.
Explaining how intensified travel, communications, and mass media have created a transnational Chinese public, Aihwa Ong argues that previous studies have mistakenly viewed transnationality as necessarily detrimental to the nation-state and have ignored individual agency in the large-scale flow of people, images, and cultural forces across borders. She describes how political upheavals and global markets have induced Asian investors, in particular, to blend strategies of migration and of capital accumulation and how these transnational subjects have come to symbolize both the fluidity of capital and the tension between national and personal identities. Refuting claims about the end of the nation-state and about “the clash of civilizations,” Ong presents a clear account of the cultural logics of globalization and an incisive contribution to the anthropology of Asia-Pacific modernity and its links to global social change.
This pioneering investigation of transnational cultural forms will appeal to those in anthropology, globalization studies, postcolonial studies, history, Asian studies, Marxist theory, and cultural studies.
In Flickers of Film, Jason Sperb offers nuanced and unexpected answers to these questions, examining the benefits of certain types of film nostalgia, while also critiquing how Hollywood’s nostalgic representations of old technologies obscure important aspects of their histories. He interprets this affection for the prehistory and infancy of digital technologies in relation to an industry-wide anxiety about how the digital has grown to dominate Hollywood, pushing it into an uncertain creative and economic future. Yet he also suggests that Hollywood’s nostalgia for old technologies ignores the professionals who once employed them, as well as the labor opportunities that have been lost through the computerization and outsourcing of film industry jobs.
Though it deals with nostalgia, Flickers of Film is strikingly cutting-edge, one of the first studies to critically examine Pixar’s role in the film industry, cinematic representations of videogames, and the economic effects of participatory culture. As he takes in everything from Terminator: Salvation to The Lego Movie, Sperb helps us see what’s distinct about this recent wave of self-aware nostalgic films—how Hollywood nostalgia today isn’t what it used to be.
These poems are dark comedies that capture both the eerie and the ordinary. This balance is not easily achieved, but like a veteran comedian executing a pratfall, Trowbridge makes it all seem natural. His surreal family, the Glads, satirizes life in suburbia and reflects the often absurd margins of our urban lifestyle. By contrast, a group of poems revolving around a packing house in Kansas City (Trowbridge worked there as a young man), reminds us of those darker places in our lives that exist just “across the street from the ledgers and lapels.”
The variety of subjects Trowbridge works with is refreshing. Whether he is writing about Buster Keaton, Fred Astaire, June bugs, baseball, the holocaust, Cadillacs, or old dogs, his eye is always focused on the turn of phrase that will catch us off guard. His well-crafted lines are full of wit and humor. He approaches his subjects like Coyote approaches Fox—smiling, ready to expose his dear friend to the reality of his existence through sleight of hand. And, like Coyote, he teaches us to laugh at ourselves or perish under the weight of our everyday lives.
Using the metaphor of a “flight cage,” where birds are held captive, as physical manifestation of the space from which her speakers address us, Dunham reinvigorates the persona poem. Instead of “performing” historical figures such as Wollstonecraft, Dorothy Wordsworth, Anna Akhmatova, and Charlotte Perkins Gilman, she invites them to inhabit her, flickering in and out of sight, refusing an easy artifice.
A virtuoso of the phrase and image, Dunham displays a daring range of prosody. Drawing upon Wollstonecraft’s experimental travel narrative, the poet creates a threshold upon which the traditional “crown of sonnets” can be opened to the sudden breakage of collaged text, remaking both the received form and the now-conventional contemporary experimental poem.
With style, humor, and a sense of wonder, Nelson blends his field adventures with a history of the birding community; natural and cultural history; bird stories from authors such as Henry David Thoreau, Emily Dickinson, and Mary Oliver; current scientific research; and observations about the fascinating habits of birds and their admirers. These essays are capped off with a plea for bird conservation, in Massachusetts and beyond.
“When I was eleven the world was filled with birds,”writes Lisa Knopp of her girlhood in Burlington, Iowa. Picking up where she left off in her first book, Field of Vision, Knopp knits together sections of her life story through a pattern of images drawn from nature. The most prevalent of these unifying themes are metaphors of flight—birds, wind, moving upward and outward and across the midwestern landscape from Nebraska and Iowa to southern Illinois.
Reminiscent of Thoreau's introspective nature writing and Dillard's taut, personal prose, each chapter in Flight Dreams stands alone as a distinct narrative, yet each is linked by profoundly personal descriptions of dreams, the natural world, defining experiences, and chance encounters with people that later prove to be fateful. Part Eastern meditation, part dream sequence, part historical reconstruction, Flight Dreams testifies to a deep understanding of how the natural world—its visible and invisible elements—guides our destinies.
Frank Waters, whose work has spanned half a century, has continually attempted to depict the reconciliation of opposites, to heal the national wounds of polarization.
Flight From Fiesta, Waters’ first novel in nearly two decades, is testimony to that aspiration, emerging as a moving and masterfully–told story of two characters who must discover the potential for common ground between their personalities.
Set in Santa Fe in the mid–fifties, the story itself is deceptively simple. Elsie, a spoiled, self–centered ten–year–old Anglo tourist girl, has come to the annual Fiesta with her divorced mother and her mother’s lover. When Elsie runs away from her hotel, she encounters Inocencio, an old alcoholic Pueblo Indian now reduced to selling pottery beneath the portal of the Palace of the Governors. With childish cunning she maneuvers Inocencio into taking her away with him. In the wake of the child’s disappearance, as the local posse–mentality intensifies and Inocencio is suspected of kidnapping and perhaps molesting her, the frightened Indian flees to the hills, taking Elsie with him on a week–long odyssey through the mountains, towns, and pueblos of New Mexico.
Waters’ eye is precise, providing sharp visual detail on very page. His ear is flawless, especially in his rendering of the laconic and stolid Indian speech patterns. All through his book there is an immediacy and a feel for place and culture that cannot be fabricated but must be gained, as Waters himself has gained it, through a lifetime among these people, these towns, and these mountains. The reconciliation of the two fugitives of Flight From Fiesta serves to point, not didactically or allegorically, but emotionally and spiritually, but emotionally and spiritually, to the possibility of the grander reconciliation that Waters envisions.
In his newest collection of poetry, Laurence Leiberman widens the scope of his previous Caribbean collections by drawing attention to the small enchanting islands of the Grenadines, a chain running between Grenada and St. Vincent. These outposts, often frequented by sailors, are mainly off the beaten tourist tracks. Lieberman’s poems bring to life all the overlooked people, hidden places, and indigenous but rarely seen animals which can be found on these islands.
These poems are as powerful as voodoo, full of energetic narratives in which Lieberman acts as observer while his characters—native “Caribs” and friends—guide us through the mystifying world of Guyana and the Caribbean: the planting of tree farms, local myths and religious sects, the daily crises of manual laborers working in the gold and diamond mines, and encounters with watras and harpy eagles.
Lieberman’s lines are rhythmic and strong; voices swirl in and out of his stanzas. From Lieberman’s own precise observations to his inclusion of Caribbean dialects, the language created here is deeply textured and unique. The majority of these poems are narratives, stories about a culture that is extremely attuned to the richness of its past. They remind their readers that no matter how diverse a society becomes, it remains irrevocably connected to the land it was born of and the plants and animals that struggle to survive in its midst.
This anthology reflects some of Colombia’s finest literary talent, and most of these stories appear here for the first time in English translation. They reveal the contradictions and complexities of the human condition, yet they also offer hope for the future. In their bold revelations of the depths of despair, these writers provide gripping portrayals of humanity’s tenacious resistance to those very depths.
The remarkable story of the golden plover’s annual migration, this beautifully illustrated nature title for young readers sees the small but mighty plover embark on a six-thousand-mile flight between the frozen Alaska tundra and gentle grassy slopes of the Hawaiian Islands. Equally at home in his two very different habitats, the once-endangered golden plover has evolved many behaviors and adaptations that make it perfectly well-suited to each of its homes, and this book contains many fascinating facts about them. Readers are also introduced to the plover’s neighbors and friends—from the giant Hawaiian goose, or nene, to the musk ox, grizzly bear, arctic fox, and sandhill crane.
A novel of love, revenge, and redemption set during three crucial years of the Mexican Revolution (1910–13).
When an eccentric Mexican general dies and leaves his entire fortune to Isabel Brentt, the American daughter-in-law he never met, his widow suspects foul play and seeks revenge against the young woman.
This is a story of love, the backlash of revenge, and the choices that define us: A young lawyer sets off on a quest to find the truth about the general’s death. A bodyguard is ordered to murder the man he is supposed to protect. A ruthless criminal falls in love with a prostitute. A priest is forced to maintain an elaborate lie. An accused patricide seeks redemption through a brotherhood of criminals. Above all, it is Isabel’s exploration of the problem of evil and of prayer as a pathway to inner freedom.
Sylvia Montgomery Shaw invites readers to follow the continuing romance of Benjamín and Isabel as both seek their freedom against the backdrop of a brutal war and learn the unexpected strength that can come from one’s inner will.
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