Maggie Foltz is a fifty-five-year-old cocktail waitress in a rundown casino in the southern Nevada Mojave Desert. She spends her days serving drinks to lonely old folks playing the slot machines and her nights trying to escape her bitter past. When she befriends Sarah, a young Native American woman who is hired to cook in the casino coffee shop, her life begins to change. Maggie finds herself falling in love with a memory-haunted Vietnam veteran and warily begins to hope that together they can find peace. Then Sarah is mysteriously murdered, and Sarah’s ghost enlists Maggie to accompany her on a quest for the wisdom that she needs in order to move into the next world. The story ranges from smoky casinos into the harsh magnificence of the desert and the reservation where Sarah’s people are trying to preserve their culture and find their own place in a modern world that seems to want them to be either shamans or losers. Sojourner’s characters are compellingly real, and the Mojave setting has rarely been depicted as sensitively or truthfully. This is a memorable story of love, redemption, and solace, told by one of the West’s finest writers.
Since the beginning of the twentieth century, modern Chinese intellectuals, reformers, revolutionaries, leftist journalists, and idealistic youth had often crossed the increasing gap between the city and the countryside, which made the act of “going to the countryside” a distinctively modern experience and a continuous practice in China. Such a spatial crossing eventually culminated in the socialist state program of “down to the villages” movements during the 1960s and 1970s. What, then, was the special significance of “going to the countryside” before that era? Going to the Countryside deals with the cultural representations and practices of this practice between 1915 and 1965, focusing on individual homecoming, rural reconstruction, revolutionary journeys to Yan’an, the revolutionary “going down to the people” as well as going to the frontiers and rural hometowns for socialist construction. As part of the larger discourses of enlightenment, revolution, and socialist industrialization, “going to the countryside” entailed new ways of looking at the world and ordinary people, brought about new experiences of space and time, initiated new means of human communication and interaction, generated new forms of cultural production, revealed a fundamental epistemic shift in modern China, and ultimately created a new aesthetic, social, and political landscape.
As a critical response to the “urban turn” in the past few decades, this book brings the rural back to the central concern of Chinese cultural studies and aims to bridge the city and the countryside as two types of important geographical entities, which have often remained as disparate scholarly subjects of inquiry in the current state of China studies. Chinese modernity has been characterized by a dual process that created problems from the vast gap between the city and the countryside but simultaneously initiated constant efforts to cope with the gap personally, collectively, and institutionally. The process of “crossing” two distinct geographical spaces was often presented as continuous explorations of various ways of establishing the connectivity, interaction, and relationship of these two imagined geographical entities. Going to the Countryside argues that this new body of cultural productions did not merely turn the rural into a constantly changing representational space; most importantly, the rural has been constructed as a distinct modern experiential and aesthetic realm characterized by revolutionary changes in human conceptions and sentiments.
It is generally believed that Mao Zedong's populism was an abrupt departure from traditional Chinese thought. This study demonstrates that many of its key concepts had been developed several decades earlier by young May Fourth intellectuals, including Liu Fu, Zhou Zuoren, and Gu Jiegang. The Chinese folk-literature movement, begun at National Beijing University in 1918, changed the attitudes of Chinese intellectuals toward literature and toward the common people.
Turning their backs on “high culture” and Confucianism, young folklorists began “going to the people,” particularly peasants, to gather the songs, legends, children's stories, and proverbs that Chang-tai Hung here describes and analyzes. Their focus on rural culture, rural people, and rural problems was later to be expanded by the Chinese Communist revolutionaries.
In this funny and perceptive collection, novelist and essayist Robert Cohen shares his thoughts on the writing process and then puts these prescriptions into practice—from how to rant effectively as an essayist and novelist (“The Piano has been Drinking”), how to achieve your own style, naming characters (and creating them), how one manages one’s own identity with being “a writer” in time and space, to the use of reference and allusion in one’s work. Cohen is a deft weaver of allusion himself. In lieu of telling the reader how to master the elements of writing fiction, he shows them through the work of the writers who most influenced his own development, including Bellow, Lawrence, Chekhov, and Babel. Rooted in his own experiences, this collection of essays shows readers how to use their influences and experiences to create bold, personal, and individual work. While the first part of the book teaches writing, the essays in the second part show how these elements come together.
In tracing the history of gold through the ages, this beautiful book showcases the multifarious uses to which the precious metal has been put. Drawing on her own long experience investigating the art and science of metallurgy, Susan La Niece guides readers through the rich history of gold. In detailed images and descriptive text, her book shows us gold over the millennia as coinage, jewelry and ornamentation, high-status vessels, and grave goods; as gifts of distinction, and as radiant symbols in rituals of magic and worship.
Following a glimmering trail through distant times and places, Gold takes us to cultures as disparate as the Mughals of India, the Anglo-Saxons of Britain, and the pre-Hispanic civilizations of the New World. It considers the work of alchemists and goldsmiths, the myths and the legends, the fakes and fine art. And, in the end, it offers a fittingly lavish and deeply informed picture of gold in all its practical, figurative, commercial, artistic, and historical facets.
The lands between Mesoamerica and the Central Andes are famed for the rich diversity of ancient cultures that inhabited them. Throughout this vast region, from about AD 700 until the sixteenth-century Spanish invasion, a rich and varied tradition of goldworking was practiced. The amount of gold produced and worn by native inhabitants was so great that Columbus dubbed the last New World shores he sailed as Costa Rica—the "Rich Coast."
Despite the long-recognized importance of the region in its contribution to Pre-Columbian culture, very few books are readily available, especially in English, on these lands of gold. Gold and Power in Ancient Costa Rica, Panama, and Colombia now fills that gap with eleven articles by leading scholars in the field. Issues of culture change, the nature of chiefdom societies, long-distance trade and transport, ideologies of value, and the technologies of goldworking are covered in these essays as are the role of metals as expressions and materializations of spiritual, political, and economic power. These topics are accompanied by new information on the role of stone statuary and lapidary work, craft and trade specialization, and many more topics, including a reevaluation of the concept of the "Intermediate Area."
Collectively, the volume provides a new perspective on the prehistory of these lands and includes articles by Latin American scholars whose writings have rarely been published in English.
Gold Diggers of 1933, a lavish and glittering showcase for Busby Berkeley's musical production talent, was designed and produced as a Depression tonic. As Berkeley said, "In an era of breadlines, Depression, and wars, I tried to help people get away from all the misery . . . to turn their minds away to something else. I wanted to make people happy, if only for an hour.
This book contains the full shooting script of Erwin Gelsey and James Seymour, based on the Avery Hopwood play of 1919, as well as the lyrics to the five songs of the film. Arthur Hove's introduction outlines the story concept from its initial Broadway form, through the 1923 silent movie, the 1929 talkie, and including several post-1933 versions. The concept of the good-hearted chorus girl with a penchant for separating wealthy men from some of their money has long been popular with both theatre and movie audiences.
Hove tells much about the relationship between the story line and musical segments of the movie, about how far a writer can go before passing the baton to the director, and about how a film is actually put together.
The film is remembered for Berkeley's musical and visual extravaganza. In the opening number, "We're in the Money," his sumptuous corps de ballet, numbering fifty-four, appeared in costumes made of fifty-four thousand "silver" coins. Five silver dollars, twenty-eight feet in diameter formed the background for the chorus.
How mid-century television anthologies reflected and shaped US values and identities.
From the late 1940s to the early 1960s, anthology dramas presented “quality” television programming in weekly stand-alone television plays meant to entertain and provide cultural uplift to American society. Programs such as Playhouse 90, Studio One, and The Twilight Zone became important emblems of American creative potential on television. But their propensity for addressing matters of major social concern also meant that they often courted controversy. Although the anthology’s tenure would be brief, its importance in the television landscape would be great, and the ways the format negotiated ideas about “Americanness” at midcentury would be a crucial facet of its significance.
In Gold Dust on the Air, Molly Schneider traces a cultural history of the “Golden Age” anthology, addressing topics such as the format’s association with Method acting and debates about “authentic” American experience, its engagement with ideas about “conformity” in the context of Cold War pressures, and its depictions of war in a medium sponsored by defense contractors. Drawing on archival research, deep textual examination, and scholarship on both television history and broader American culture, Schneider posits the anthology series as a site of struggle over national meaning.
Entertaining and expert, The Gold in the Rings maps the Olympics' course from paragon of purity to billion-dollar profits.
This collection focuses on the introduction of phenomenology to the United States by the community of scholars who taught and studied at the New School for Social Research from 1954 through 1973. During those years, Dorion Cairns, Alfred Schutz, and Aron Gurwitsch—all former students of Edmund Husserl—came together in the department of philosophy to establish the first locus of phenomenology scholarship in the country. This founding trio was soon joined by three other prominent scholars in the field: Werner Marx, Thomas M. Seebohm, and J. N. Mohanty. The Husserlian phenomenology that they brought to the New School has subsequently spread through the Anglophone world as the tradition of Continental philosophy.
The first part of this volume includes original works by each of these six influential teachers of phenomenology, introduced either by one of their students or, in the case of Seebohm and Mohanty, by the thinkers themselves. The second part comprises contributions from twelve leading scholars of phenomenology who trained at the New School during this period. The result is a powerful document tracing the lineage and development of phenomenology in the North American context, written by members of the first two generations of scholars who shaped the field.
Contributors: Michael Barber, Lester Embree, Jorge García-Gómez, Fred Kersten, Thomas M. T. Luckmann, William McKenna, J. N. Mohanty, Giuseppina C. Moneta, Thomas Nenon, George Psathas, Osborne P. Wiggins, Matthew M. Seebohm, and Richard M. Zaner.
In a masterful study, Carl J. Richard explores how the Greek and Roman classics became enshrined in American antebellum culture. For the first time, knowledge of the classics extended beyond aristocratic males to the middle class, women, African Americans, and frontier settlers.
The classics shaped how Americans interpreted developments around them. The example of Athens allowed politicians of the democratic age to espouse classical knowledge without seeming elitist. The Industrial Revolution produced a backlash against utilitarianism that centered on the classics. Plato and other ancients had a profound influence on the American romantics who created the first national literature, and pious Christians in an age of religious fervor managed to reconcile their faith with the literature of a pagan culture. The classics supplied both sides of the slavery debate with their chief rhetorical tools: the Aristotelian defense of slavery to Southern slaveholders and the concept of natural law to the Northern abolitionists.
The Civil War led to a radical alteration of the educational system in a way that steadily eroded the preeminence of the classics. They would never regain the profound influence they held in the antebellum era.
A collaborative effort by scholars from the United States, China, and Japan, this volume focuses on the period 1972-1989, during which all three countries, brought together by a shared geopolitical strategy, established mutual relations with one another despite differences in their histories, values, and perceptions of their own national interest. Although each initially conceived of its political and security relations with the others in bilateral terms, the three in fact came to form an economic and political triangle during the 1970s and 1980s. But this triangle is a strange one whose dynamics are constantly changing. Its corners (the three countries) and its sides (the three bilateral relationships) are unequal, while its overall nature (the capacity of the three to work together) has varied considerably as the economic and strategic positions of the three have changed and post–Cold War tensions and uncertainties have emerged.
In considering this special era, when the three major powers in the East Asia region engaged in positive interaction, the essays in this volume highlight the importance of this triangular reality in achieving a workable framework for future regional and global cooperation.
The elegiac poet Propertius responds in his verse to the complex changes that Rome underwent in his period, taking on numerous topics including poetic and sexual rivalry, visual art, violence, inability to control the elusive mistress, imperialism, colonialism, civil war, the radical new shape of the Roman state under the new monarch Augustus, and more. These essays, by well-known scholars of Roman elegy, offer new ways of reading Propertius’ topics, attitudes, and poetics.
This book begins with two distinguished essays by the late Barbara Flaschenriem, whose work on Propertius remains influential. The other contributions, offered in honor of her, are by Diane Rayor, Andrew Feldherr, Ellen Greene, Lowell Bowditch, Alison Keith, and volume editor Sharon L. James. These essays explore topics including Propertian didacticism, dream interpretation, visual art and formalism, sex and violence, Roman imperialism and its connection to the elegiac puella, and Propertius’ engagement, in Book 4, with Vergil’s poetry.
One of the most persistent legends in the annals of New World exploration is that of the Land of Gold. This mythical site was located over vast areas of South America (and later, North America); the search for it drove some men mad with greed and, as often as not, to their untimely deaths.
In this history of quest and adventure, Robert Silverberg traces the fate of Old World explorers lured westward by the myth of El Dorado. From the German conquistadores licensed by the Spanish king to operate out of Venezuela, to the journeys of Gonzalo Pizarro in the Amazon basin, and to the nearly miraculous voyage of Francisco Orellana to the mouth of the Amazon River, encountering the warlike women who gave the river its name, violence and bloodshed accompanied the determined adventurers. Sir Walter Raleigh and a host of other explorers spent small fortunes and many lives trying to locate Manoa, a city that was rumored to be El Dorado—City of Gold. Celebrated science fiction author Robert Silverberg recreates these legendary quests in The Golden Dream: Seekers of El Dorado.
The gold rush was Herman Francis Reinhart's life for almost twenty years. From the summer of 1851 when, as a boy in his late teens, he traveled the Oregon trail to California, until a January day in 1869 when he climbed aboard an eastbound train at Evanston, Wyoming, he was a part of every gold discovery that stirred the West.
Reinhart dipped his pan in the streams of northern California and western Oregon—in Humbug Creek, Indian Creek, Rogue River, and Sucker Creek. He made the arduous and dangerous overland journey through Indian-occupied western Washington and British Columbia to find the Fraser River gold even more elusive than that farther south. With his teams and wagons he traversed all of the inland mine areas from Walla Walla to Fort Benton, from Boise Basin to South Pass City.
Reinhart's German common sense soon turned him from actual mining to other sources of income, but whatever his labor was, the mines were always the focal point of his activities. When he operated a bakery and saloon it was a business whose customers were miners, whose transactions were more likely to involve gold dust than legal tender, and whose gambling tables saw the exchange of mining fortunes. When he operated a whipsaw mill the timbers cut there were used by miners for sluices and cradles. For a while Reinhart farmed, but planting and harvesting suffered from interruption by frequent expeditions to the mines. And when he prospered as a teamster it was to and from the mining towns that he hauled passengers, supplies, and equipment.
The men who, like Herman Francis Reinhart, hopefully followed the golden frontier were not an articulate group, and the written records of their lives are few and fragmentary. But Reinhart, in his later years, recorded his experiences in five long, narrow, hardback ledgers. Many years after he died his daughter gave the ledgers to a friend in Chanute, Kansas—Nora Cunningham—who read the narrative, became fascinated by it, and typed it for publication.
Reinhart's account, written in a grammar and language all his own, is not a record of the historian's West, but of the West of the individual miner. The pages are filled with the details of day-to-day life of the miners—the subjects that interested them, the problems that plagued them, their fun and feuding, their frustrations and hopes. Edited by an authority of the history of the West, it is a book that will offer exciting reading to casual readers and scholars alike.
At the age of ten and without his parents, Easurk Charr, a convert to Christianity, came to Hawa'ii in 1904 to earn enough money to acquire an education and return to his native Korea as a medical missionary. The Golden Mountain is Charr's story of his early years in Korea, his migration to Hawai'i and the American mainland, and the joys and pain of his life as one of some seven thousand Koreans who migrated to the United States between 1903 and 1905.
First published in 1961, Charr's memoir offers touching insights into the experience of early Korean immigrants. He tells eloquently of how difficult it was for him to become a naturalized citizen, even after serving in the U.S. Army. An introduction by Wayne Patterson provides a broader perspective on both Charr and the Korean immigrant experience.
For young or old, rich or poor, this wisdom will find many applications in people's lives. This inspiring collection of time wisdom by Sir John Templeton, presented in a beautiful gift book, is perfect for a person seeking deeper meaning in life. Practical and uplifting advice based on a lifetime of experience is gathered in an attractive package for personal use or as a perfect gift. Juxtaposed to his sayings are short essays that elaborate on the ideas and make them easier to understand and apply. Themes, such as thanksgiving, forgiveness, positive thinking, love, humility, and happiness, arrange the thoughts.
"[A] fascinating study of how people―and their capital―seek to move around a world that is at once hugely interconnected and driven by inequities…definitive, detailed, and unusually nuanced.”
―Atossa Araxia Abrahamian, Foreign Affairs
The first comprehensive on-the-ground investigation of the global market for citizenship, examining the wealthy elites who buy passports, the states and brokers who sell them, and the normalization of a once shadowy practice.
Our lives are in countless ways defined by our citizenship. The country we belong to affects our rights, our travel possibilities, and ultimately our chances in life. Obtaining a new citizenship is rarely easy. But for those with the means—billionaires like Peter Thiel and Jho Low, but also countless unknown multimillionaires—it’s just a question of price.
More than a dozen countries, many of them small islands in the Mediterranean, Caribbean, and South Pacific, sell citizenship to 50,000 people annually. Through six years of fieldwork on four continents, Kristin Surak discovered how the initially dubious sale of passports has transformed into a full-blown citizenship industry that thrives on global inequalities. Some “investor citizens” hope to parlay their new passport into visa-free travel—or use it as a stepping stone to residence in countries like the United States. Other buyers take out a new citizenship as an insurance policy or to escape state control at home. Almost none, though, intend to move to their selected country and live among their new compatriots, whose relationship with these global elites is complex.
A groundbreaking study of a contentious practice that has become popular among the nouveaux riches, The Golden Passport takes readers from the details of the application process to the geopolitical hydraulics of the citizenship industry. It’s a business that thrives on uncertainty and imbalances of power between big, globalized economies and tiny states desperate for investment. In between are the fascinating stories of buyers, brokers, and sellers, all ready to profit from the citizenship trade.
“Throughout this anthology, more than 60 other well-known Brooks poems can be read the same way, with lines from ‘The Mother’ and ‘The Bean Eaters’ tripping down the right-hand side of the page. The anthology ends with ‘Non-Brooks Golden Shovels’ and ‘Variations and Expansions on the Form.’ The cross-section of poets with varying poetics and styles gathered here is only one of the many admirable achievements of this volume.”
—Claudia Rankine, The New York Times, August 2017
“The editors, including tireless poetry advocate Kahn, of this unique, new addition to the Gwendolyn Brooks legacy put together a richly diverse set of poets working with the most unusual and fertile new poetic form created in recent years. National Book Award winner Terrance Hayes invented the Golden Shovel, which he illuminates in his stirring foreword, writing, “Because where do poems come from if not other poems?” In a Golden Shovel poem, the last words in each line are taken from a Brooks poem. A veritable who’s who of contemporary poets tried their hands at this encoded homage, including Billy Collins, Mark Doty, Rita Dove, Nikki Giovanni, Joy Harjo, Billy Lombardo, Sharon Olds, Alberto Ríos, Tracy K. Smith, and Timothy Yu. Beautifully introduced by Patricia Smith, this is a beguiling and mind-expanding anthology shaped by formal expertise and deep appreciation for the complexity and resonance of Brooks’ work and profoundly nurturing influence. In all, a substantial and dynamic contribution to American literature.”
—Booklist, May 2017
"Gwendolyn Brooks was the first black writer to receive the Pulitzer Prize for poetry back in 1950. A new book honors her work in using a form called the golden shovel, developed by poet Terrance Hayes. In The Golden Shovel Anthology, poets select a line from a poem of Brooks’s and use it as the closing line or lines in a poem of their own. The result is an expansive and extraordinary assemblage edited by poets Peter Kahn, Ravi Shankar, and Patricia Smith.”
—Nina MacLaughlin, Boston Globe, March 2017
The Golden Shovel Anthology celebrates the life and work of poet and civil rights icon Gwendolyn Brooks through a dynamic new poetic form, the Golden Shovel, created by National Book Award–winner Terrance Hayes.
The last words of each line in a Golden Shovel poem are, in order, words from a line or lines taken from a Brooks poem. The poems are, in a way, secretly encoded to enable both a horizontal reading of the new poem and vertical reading down the right-hand margin of Brooks’s original. An array of writers—including Pulitzer Prize winners, T. S. Eliot Prize winners, National Book Award winners, and National Poet Laureates—have written poems for this exciting new anthology: Rita Dove, Billy Collins, Nikki Giovani, Sharon Olds, Tracy K. Smith, Mark Doty, Sharon Draper, and Julia Glass are just a few of the contributing poets.
The poems found here will inspire a diversity of readers, teachers, and writers of poetry while at the same time providing remarkable access for newcomers, making it ideal for classrooms. The Golden Shovel Anthology will also honor Brooks with publication in 2017, the centenary of her birth.
Emilio Carballido was one of the most innovative and accomplished of Mexico's playwrights and one of the outstanding creators in the new Latin American theater. By his mid-forties he had already produced an impressive body of works in two very different veins. On the one hand, he mastered the techniques of the "well-made play." On the other, he developed a richly rewarding vein of fantasy, sometimes poetic, sometimes comic, sometimes macabre—and sometimes all three.
The plays in this volume are in the latter vein, ranging from surrealist farce in "The Intermediate Zone" to the grotesqueries of "The Time and the Place," from tragicomedy in "Theseus" to the dreamlike permutations of "The Golden Thread." But even at his most fantastic, Carballido never loses his remarkable gift for characterization: his peevish Minotaur, his raffish Nahual (were-jaguar) are wholly believable monsters.
Golden Treasures of the San Juan contains fabulous stories of lost mines, bullion, and valuable prospects of one of the most beautiful mountain areas of the United States. Many of the stories are based on the personal adventures of author Cornelius.
When the Indian Mountain Lands (the San Juan) were ceded in 1874, the wild region was thrown open to prospectors seeking its gold and silver riches. Many prospects were valuable discoveries, yet were lost and became legendary mines. Further, the Spanish explorers had been through this area much earlier with their bullion, and their caches added to the legends of gold discovered or to be discovered. The authors of this book trace complete stories about these long-lost hoards.
Dubbed the "Bard of America's Bird-Watchers" by the Wall Street Journal, Pete Dunne knows birders and birding—instinctively and completely. He understands the compulsion that drives other birders to go out at first light, whatever the weather, for a chance to maybe, just maybe, glimpse that rare migrant that someone might have spotted in a patch of woods the day before yesterday. And yet, he also knows how . . . well . . . strange the birding obsession becomes when viewed through the eyes of a nonbirder. His dual perspective—totally engrossed in birding, yet still aware of the "odd birdness" of some birders—makes reading his essays a pure pleasure whether you pursue "the feather quest" or not.
This book collects forty-one of Dunne's recent essays, drawn from his columns in Living Bird, Wild Bird News, the New Jersey Sunday section of the New York Times, Birder's World, and other publications. Written with his signature wit and insight, they cover everything from a moment of awed communion with a Wandering Albatross ("the most beautiful thing I'd ever seen") to Dunne's imagined "perfect bird" ("The Perfect Bird is the size of a turkey, has the wingspan of an eagle, the legs of a crane, the feet of a moorhen, and the talons of a great horned owl. It eats kudzu, surplus zucchini, feral cats, and has been known to predate upon homeowners who fire up their lawn mowers before 7:00 A.M. on the weekend."). The title essay pays whimsical, yet heartfelt tribute to Dunne's mentor, the late birding legend Roger Tory Peterson.
Often seen as anti-egalitarian and elitist, the country club has provoked strong responses since its initial appearance in the late 1800s. Golf, another elitist identifier, was commonly dismissed as a pseudo-sport or even unmanly. Where and how had the country club and the game of golf taken root in the United States? How had the manicured order of the golf course become a cultural site that elicited both strong loyalties and harsh criticism?
Richard J. Moss's cultural history explores the establishment of the country club as an American social institution and its inextricable connection to the ancient, imported game of golf. Moss traces the evolution of country clubs from informal groups of golf-playing friends to “country estates” in the suburbs and, eventually, into public and private daily fee courses, corporate country clubs, and gated golfing communities. As he shows, the development of these institutions reveals profound shifts in social dynamics, core American values, and attitudes toward health and sport.
In this concise social history of golf in the United States from the 1880s to the present, George B. Kirsch tracks the surprising growth of golf as a popular, mainstream sport, in contrast to the stereotype of golf as a pastime enjoyed only by the rich elite. In addition to classic heroes such as Francis Ouiment, Gene Sarazen, Sam Snead, and Ben Hogan, the annals of golf's early history also include African American players--John Shippen Jr., Ted Rhodes, and Charlie Sifford--as well as both white and black female players such as Mildred "Babe" Didrikson Zaharias, Louise Suggs, Betsy Rawls, Ann Gregory, and former tennis champ Althea Gibson. Golf in America tells the stories of these and many other players from different social classes, ethnic backgrounds, races, and genders.
Examining golf's recent history, Golf in America looks at the impact of television and the rivalry between Arnold Palmer and Jack Nicklaus, both of whom in 1996 were impressed by an upstart named Eldrick "Tiger" Woods. Kirsch also highlights the history of public golf courses in the United States, from Van Cortlandt Park in the Bronx to Boston's Franklin Park, Chicago's Jackson Park, and other municipal and semiprivate courses that have gone relatively unnoticed in the sport's history. Illustrated with nearly two dozen photographs, this book shows that golf in America has always reflected a democratic spirit, evolving into a sport that now rivals baseball for the honor of being acclaimed "America's national pastime."
Runner-up, Best Popular Fiction in English, Latino Book Awards Competition, 2010
The golondrina is a small and undistinguished swallow. But in Spanish, the word has evoked a thousand poems and songs dedicated to the migrant's departure and hoped-for return. As such, the migrant becomes like the swallow, a dream-seeker whose real home is nowhere, everywhere, and especially in the heart of the person left behind.
The swallow in this story is Amada García, a young Mexican woman in a brutal marriage, who makes a heart-wrenching decision—to leave her young daughter behind in Mexico as she escapes to el Norte searching for love, which she believes must reside in the country of freedom. However, she falls in love with the man who brings her to the Texas border, and the memories of those three passionate days forever sustain and define her journey in Texas. She meets and marries Lázaro Mistral, who is on his own journey—to reclaim the land his family lost after the U.S.-Mexican War. Their opposing narratives about love and war become the legacy of their first-born daughter, Lucero, who must reconcile their stories into her struggle to find "home," as her mother, Amada, finally discovers the country where love beats its infinite wings.
Bárbara Renaud González, a native-born Tejana and acclaimed journalist, has written a lyrical story of land, love, and loss, bringing us the first novel of a working-class Tejano family set in the cruelest beauty of the Texas panhandle. Her story exposes the brutality, tragedy, and hope of her homeland and helps to fill a dearth of scholarly and literary works on Mexican and Mexican American women in post–World War II Texas.
In Gondal’s Queen, Fannie Elizabeth Ratchford presents a cycle of eighty-four poems by Emily Jane Brontë, for the first time arranged in logical sequence, to re-create the “novel in verse” which Emily wrote about their beloved mystical kingdom of Gondal and its ruler, Augusta Geraldine Almeda, who brought tragedy to those who loved her.
Thanks to previous publications by Ratchford, the imaginative world of Gondal is well known not only to Brontë scholars but also to general readers. Only in the present book, however, with Emily’s lovely poems restored to the setting which gave them being, can the full impact of this extraordinary literary creation be realized.
The life story of Gondal’s Queen, from portentous birth to tragic death, is set in a world compounded of dark Gothic romance and Byronic extravagance; yet out of it emerges not only a real country of wild moor sheep and piercingly beautiful nights but also the portrait of a real woman, whose doom was wrought not by the stars but by the clashing complications of her own nature.
In A.G.A. (the appellation most usually applied to the Queen), Emily Brontë created a personality, not a puppet reciting lovely lines. And Ratchford, in reconstructing her story, has re-affirmed the dignity, beauty, and richness of Emily’s poetry.
Gondal’s Queen is the end of a long trail of research and literary detection which has led Ratchford to all known Brontë documentary sources. This quest was originally stimulated by curiosity over a tiny booklet signed, “C. Brontë, June 29th, 1837,” in the Wrenn Library at the University of Texas at Austin. Ratchford’s intense and astonishingly fruitful interest in the Brontës had its origin in her attempt to unravel the fascinating puzzle presented by this little book, which seemed to be merely a series of childish vignettes held together by “a shadow of a common character” and a “tendency toward a unified plot.”
Bit by bit, Ratchford assembled clues from manuscripts and obscure publications until the significance of the play world of the Brontë children began to emerge. In spite of the fact that the Brontës had been the subject of the liveliest literary speculation since their deaths, it remained for Ratchford to establish the importance of their juvenile writings to the later writings of Charlotte. In successive publications she presented the accumulating evidence. For a time her curiosity was centered on Charlotte and the group, but it finally became focused on Emily through a manuscript journal fragment which fortunately came to hand.
Unlike Charlotte, Emily left no prose works from her childhood. But it is apparent from journal entries and birthday notes written by Emily and Anne (whose shared creation Gondal was) not only that the two younger Brontës lived in and sustained daily an imaginary world which had evolved from the earlier play of the four children together, but also that they had written separately voluminous histories and “novels” about it. Of Emily’s vast Gondal literature, only a small body of verse has survived, poems originally intended for no eye but her own and possibly Anne’s. But it is clear that Gondal was not only Emily Brontë’s childhood dream world but also the major preoccupation of her adult creative life.
Winner of the 2019 Agha Shahid Ali Prize in Poetry
Zachary Asher’s second collection, gone bird in the glass hours, is a play in verse, featuring seven voices. It begins with a rabbi, bewildered and bent by personal grief, guided and beguiled by elusive Blue Postman into the world of “the glass hours” and its inhabitants.
Rooted in magical realism, gone bird in the glass hours experiments with multiple forms from epistles to centos, from fractals to prayers. These poems are brave in their excavations of grief and solace, wonder and rage, collective trauma and, ultimately, transcendence.
Dolly Parton isn’t just a country music superstar. She has built an empire. At the heart of that empire is Dollywood, a 150-acre fantasy land that hosts three million people a year. Parton’s prodigious talent and incredible celebrity have allowed her to turn her hometown into one of the most popular tourist destinations in America. The crux of Dollywood’s allure is its precisely calibrated Appalachian image, itself drawn from Parton’s very real hardscrabble childhood in the mountains of east Tennessee.
What does Dollywood have to offer besides entertainment? What do we find if we take this remarkable place seriously? How does it both confirm and subvert outsiders’ expectations of Appalachia? What does it tell us about the modern South, and in turn what does that tell us about America at large? How is regional identity molded in service of commerce, and what is the interplay of race, gender, and class when that happens?
In Gone Dollywood, Graham Hoppe blends tourism studies, celebrity studies, cultural analysis, folklore, and the acute observations and personal reflections of longform journalism into an unforgettable interrogation of Southern and American identity.
Grab your tackle and hit the road with Ron Bern and Manny Luftglass as they take you to the choicest places to fish in New York in Gone Fishin': The 100 Best Spots in New York, their follow-up to the highly successful Gone Fishin': The 100 Best Spots in New Jersey.
Truly great freshwater and saltwater fishing abounds throughout the state, from the classic Catskills trout streams to the mighty Hudson and Delaware rivers; from Lake Ontario to the Finger Lakes; from Long Island Sound to the bluewater canyons off the coast; from saltwater bays to artificial reefs; from the smaller sweetwater rivers and New York City reservoirs to surprising trout streams and bass ponds on Long Island.
Luftglass and Bern provide readers with immediately useful insights into each of the 100 best sites. They furnish easy-to-follow directions, descriptions of the body of water, boat launch information, and detailed advice on live and artificial bait, fishing methods, equipment, depths, best times of day and year, secret tips particular to each site, and even specific places to work bait or lures. Gone Fishin' also includes places that are good for children, as well as those which are handicapped accessible.
Throughout the book, Bern and Luftglass share anecdotes about their own fishing adventures and some of the big ones that didn't get away in their more than 33 years of fishing together. The information they cram into every chapter will help you find the spot, fish it more effectively, and catch more fish.
Whether you fish 150 times a year or you are planning to fish for the first time, you're sure to fall hook, line, and sinker for this entertaining and educational guide.
Sumner, MO, pop. 102, near the Swan Lake National Wildlife Refuge, proclaims itself “The Wild Goose Capital of the World.” It even displays Maxie, the World’s largest goose: a 40-foot tall fiberglass statue with a wingspan stretching more than 60 feet. But while the 200,000 Canada geese that spent their falls and winters at Swan Lake helped generate millions of dollars for the local economy—with hunting and the annual Goose Festival—climate change, as well as environmental and land use issues, have caused the birds to disappear. The economic loss of the geese and the activities they inspired served as key building blocks in the rural identities residents had developed and treasured.
In his timely and topical book, Gone Goose, Braden Leap observes how members of this rural town adapted, reorganized, and reinvented themselves in the wake of climate change—and how they continued to cultivate respect and belonging in their community. Leap conducted interviews with residents and participated in various community events to explore how they reimagine their relationships with each other as well as their community’s relationship with the environment, even as they wish the geese would return.
The first comprehensive history of the oldest national religious Jewish women's organization in the United States
Gone to Another Meeting charts the development of the National Council of Jewish Women (NCJW) and its impact on both the Jewish Community in the United States and American Society in general.
Founded in 1893 by Hannah Greenebaum Solomon, NCJW provided a conduit through which Jewish women’s voices could be heard and brought a Jewish voice to America’s women’s rights movement. NCJW would come to represent both the modernization and renewal of traditional Jewish womanhood. Through its emphasis on motherhood, its adoption of domestic feminism, and its efforts to carve a distinct Jewish niche in the late 19th-century Progressive social reform movement in the largely Christian world of women’s clubs, NCJW was instrumental in defining a uniquely American version of Jewish womanhood.
Ray Allen interweaves biography, history, and music criticism to follow the band from its New York roots to their involvement with the commercial folk music boom. Allen details their struggle to establish themselves amid critical debates about traditionalism brought on by their brand of folk revivalism. He explores how the Ramblers ascribed notions of cultural authenticity to certain musical practices and performers and how the trio served as a link between southern folk music and northern urban audiences who had little previous exposure to rural roots styles. Highlighting the role of tradition in the social upheaval of mid-century America, Gone to the Country draws on extensive interviews and personal correspondence with band members and digs deep into the Ramblers' rich trove of recordings.
To make a living here, one had to be capable, confident, clever and inventive, know a lot about survival, be able to fashion and repair tools, navigate a boat, fell a tree, treat a snakebite, make a meal from whatever was handy without asking too many questions about it, and get along with folks.
This fascinating and instructive book is the careful and unpretentious account of a man who was artful in all the skills needed to survive and raise a family in an area where most people would be lost or helpless. Smith’s story is an important record of a way of life beginning to disappear, a loss not fully yet realized. We are lucky to have a work that is both instructive and warm-hearted and that preserves so much hard-won knowledge.
Scholarship on the musical traditions of Indonesia has long focused on practices from Java and Bali, including famed gamelan traditions, at the expense of the wide diversity of other musical forms within the archipelago. Jennifer A. Fraser counters this tendency by exploring a little-known gong tradition from Sumatra called talempong, long associated with people who identify themselves as Minangkabau.
Grounded in rich ethnographic data and supplemented with online audiovisual materials, Gongs and Pop Songs is the first study to chronicle the history and variety of talempong styles. It reveals the continued vitality of older modes in rural communities in the twenty-first century, while tracing the emergence of newer ones with radically different aesthetic frames and values. Each talempong style discussed incorporates into its repertoire Minangkabau pop or indigenous songs, both of which have strong associations with the place and people. These contemporary developments in talempong have taken place against a shifting political, social, and economic backdrop: the institutionalization of indigenous arts, a failed regional rebellion, and the pressures of a free-market economy.
Fraser adopts a cognitive approach to ethnicity, asking how people understand themselves as Minangkabau through talempong and how different styles of the genre help create and articulate ethnic sentiments—that is, how they help people sound Minangkabau.
In a time when image is indeed everything, our personal appearance has a tremendous effect on nearly every aspect of our lives on a daily basis. Our choice of hairstyle can mean the difference between acceptance and rejection by groups and individuals. The choices made by African Americans are particularly charged, often affecting the wearer and the viewer in unique and sometimes life-altering ways.
Good and Bad Hair emerges out of photographer Bill Gaskins's traveling photo exhibition of the same name. The book features 60 evocative photographs of African American men, women, and children, documenting contemporary black hairstyles and their role as a feature of African American culture.
On one level, the photographs present readers with a variety of popular and personal approaches to wearing one's hair. On another level, they isolate what amounts to a bold, assertive departure from the common definition of American beauty that excludes the physical features of many people of African descent. This narrow definition of beauty has created a race-based measurement for what is considered "good" and "bad" hair. Gaskins's pictures identify African Americans from different regions of the United States who expressively symbolize their sense of self and often their sense of an African or black identity through their hair.
The unintended consequences of youth empowerment programs for Latino boys
Educational research has long documented the politics of punishment for boys and young men of color in schools—but what about the politics of empowerment and inclusion? In Good Boys, Bad Hombres, Michael V. Singh focuses on this aspect of youth control in schools, asking on whose terms a positive Latino manhood gets to be envisioned.
Based on two years of ethnographic research in an urban school district in California, Good Boys, Bad Hombres examines Latino Male Success, a school-based mentorship program for Latino boys. Instead of attempting to shape these boys’ lives through the threat of punishment, the program aims to provide an “invitation to a respectable and productive masculinity” framed as being rooted in traditional Latinx signifiers of manhood. Singh argues, however, that the promotion of this aspirational form of Latino masculinity is rooted in neoliberal multiculturalism, heteropatriarchy, and anti-Blackness, and that even such empowerment programs can unintentionally reproduce attitudes that paint Latino boys as problematic and in need of control and containment.
An insightful gender analysis, Good Boys, Bad Hombres sheds light on how mentorship is a reaction to the alleged crisis of Latino boys and is governed by the perceived remedies of the neoliberal state. Documenting the ways Latino men and boys resist the politics of neoliberal empowerment for new visions of justice, Singh works to deconstruct male empowerment, arguing that new narratives and practices—beyond patriarchal redemption—are necessary for a reimagining of Latino manhood in schools and beyond.
On the faulty intellectual origins of shareholder primacy—and how policy can win back what’s been lost.
In an era of shareholder primacy, share price is king. Businesses operate with short-term goals to deliver profits to shareholders, enjoying stability (and bonuses) in the process. While the public bemoans the doctrine for its insularity and wealth-consolidating effects, its influence over corporate governance persists. Good Company offers an exacting argument for why shareholder primacy was never the right model to follow for truly understanding how corporations operate.
Lenore Palladino shows that corporations draw power from public charters—agreements that allow corporations to enjoy all manner of operational benefits. In return, companies are meant to innovate for the betterment of the societies that support them. However, that debt—increasingly wielded for stock buybacks and shareholder bonuses—is not being repaid. Palladino theorizes a modern corporation that plays its intended role while delivering social and economic good in the process and offers tangible policy solutions to make this a reality. Good Company is both an expert introduction to the political economy of the firm—as it was, as it is, as it can be—and a calibrating examination of how public policy can shape companies, and societies, for the better.
Illness provides a mirror that allows sufferers to see themselves and to become more introspective. As they struggle for control over illness and control over time, they also struggle to control the central images of the self. For example, the chronically ill may situate their self-concepts in the past, present, or future. Charmaz examines under what conditions they situate their self-concepts in each of those timeframes. People may say they live one day at a time. They may bracket certain experiences, such as a heart attack, as timemarkers or turning points in the past. Or they may look ahead to recovering their health. Or ahead to death.
Charmaz artfully combines near jargon-free analysis with moving stories about how people have experienced illness, usually told in the sufferers' own words. She enters the world of the chronically ill, and brings us into it.
“Insightful tour de force… Farrell’s writing is as informative as it is intoxicating” -- Publishers Weekly
Shanna Farrell loves a good drink. As a bartender, she not only poured spirits, but learned their stories—who made them and how. Living in San Francisco, surrounded by farm-to-table restaurants and high-end bars, she wondered why the eco-consciousness devoted to food didn’t extend to drinks.
The short answer is that we don’t think of spirits as food. But whether it's rum, brandy, whiskey, or tequila, drinks are distilled from the same crops that end up on our tables. Most are grown with chemicals that cause pesticide resistance and pollute waterways, and distilling itself requires huge volumes of water. Even bars are notorious for generating mountains of trash. The good news is that while the good drink movement is far behind the good food movement, it is emerging.
In A Good Drink, Farrell goes in search of the bars, distillers, and farmers who are driving a transformation to sustainable spirits. She meets mezcaleros in Guadalajara who are working to preserve traditional ways of producing mezcal, for the health of the local land, the wallets of the local farmers, and the culture of the community. She visits distillers in South Carolina who are bringing a rare variety of corn back from near extinction to make one of the most sought-after bourbons in the world. She meets a London bar owner who has eliminated individual bottles and ice, acculturating drinkers to a new definition of luxury.
These individuals are part of a growing trend to recognize spirits for what they are—part of our food system. For readers who have ever wondered who grew the pears that went into their brandy or why their cocktail is an unnatural shade of red, A Good Drink will be an eye-opening tour of the spirits industry. For anyone who cares about the future of the planet, it offers a hopeful vision of change, one pour at a time.
In this spirited and irreverent critique of Darwin’s long hold over our imagination, a distinguished philosopher of science makes the case that, in culture as well as nature, not only the fittest survive: the world is full of the “good enough” that persist too.
Why is the genome of a salamander forty times larger than that of a human? Why does the avocado tree produce a million flowers and only a hundred fruits? Why, in short, is there so much waste in nature? In this lively and wide-ranging meditation on the curious accidents and unexpected detours on the path of life, Daniel Milo argues that we ask these questions because we’ve embraced a faulty conception of how evolution—and human society—really works.
Good Enough offers a vigorous critique of the quasi-monopoly that Darwin’s concept of natural selection has on our idea of the natural world. Darwinism excels in accounting for the evolution of traits, but it does not explain their excess in size and number. Many traits far exceed the optimal configuration to do the job, and yet the maintenance of this extra baggage does not prevent species from thriving for millions of years. Milo aims to give the messy side of nature its due—to stand up for the wasteful and inefficient organisms that nevertheless survive and multiply.
But he does not stop at the border between evolutionary theory and its social consequences. He argues provocatively that the theory of evolution through natural selection has acquired the trappings of an ethical system. Optimization, competitiveness, and innovation have become the watchwords of Western societies, yet their role in human lives—as in the rest of nature—is dangerously overrated. Imperfection is not just good enough: it may at times be essential to survival.
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