A SCHOLARLY BOOK REPOSITORY
Named one of the world’s great blues-rock guitarists by Rolling Stone, Mike Bloomfield (1943–1981) remains beloved by fans forty years after his untimely death. Taking readers backstage, onstage, and into the recording studio with this legendary virtuoso, David Dann tells the riveting stories behind Bloomfield’s work in the seminal Paul Butterfield Blues Band and the mesmerizing Electric Flag, as well as on the Super Session album with Al Kooper and Stephen Stills, Bob Dylan’s Highway 61 Revisited, and soundtrack work with Peter Fonda and Jack Nicholson.
In vivid chapters drawn from meticulous research, including more than seventy interviews with the musician’s friends, relatives, and band members, music historian David Dann brings to life Bloomfield’s worlds, from his comfortable upbringing in a Jewish family on Chicago’s North Shore to the gritty taverns and raucous nightclubs where this self-taught guitarist helped transform the sound of contemporary blues and rock music. With scenes that are as electrifying as Bloomfield’s solos, this is the story of a life lived at full volume.
In Guitar Makers, Kathryn Marie Dudley introduces us to builders of artisanal guitars, their place in the art world, and the specialized knowledge they’ve developed. Drawing on in-depth interviews with members of the lutherie community, she finds that guitar making is a social movement with political implications. Guitars are not simply made—they are born. Artisans listen to their wood, respond to its liveliness, and strive to endow each instrument with an unforgettable tone. Although professional luthiers work within a market society, Dudley observes that their overriding sentiment is passion and love of the craft. Guitar makers are not aiming for quick turnover or the low-cost reproduction of commodities but the creation of singular instruments with unique qualities, and face-to-face transactions between makers, buyers, and dealers are commonplace.
In an era when technological change has pushed skilled artisanship to the margins of the global economy, and in the midst of a capitalist system that places a premium on ever faster and more efficient modes of commerce, Dudley shows us how artisanal guitar makers have carved out a unique world that operates on alternative, more humane, and ecologically sustainable terms.
Guitars inspire cult-like devotion: an aficionado can tell you precisely when and where their favorite instrument was made, the wood it is made from, and that wood’s unique effect on the instrument’s sound. In The Guitar, Chris Gibson and Andrew Warren follow that fascination around the globe as they trace guitars all the way back to the tree. The authors take us to guitar factories, port cities, log booms, remote sawmills, Indigenous lands, and distant rainforests, on a quest for behind-the-scenes stories and insights into how guitars are made, where the much-cherished guitar timbers ultimately come from, and the people and skills that craft those timbers along the way.
Gibson and Warren interview hundreds of people to give us a first-hand account of the ins and outs of production methods, timber milling, and forest custodianship in diverse corners of the world, including the Pacific Northwest, Madagascar, Spain, Brazil, Germany, Japan, China, Hawaii, and Australia. They unlock surprising insights into longer arcs of world history: on the human exploitation of nature, colonialism, industrial capitalism, cultural tensions, and seismic upheavals. But the authors also strike a hopeful note, offering a parable of wider resonance—of the incredible but underappreciated skill and care that goes into growing forests and felling trees, milling timber, and making enchanting musical instruments, set against the human tendency to reform our use (and abuse) of natural resources only when it may be too late. The Guitar promises to resonate with anyone who has ever fallen in love with a guitar.
---Edwin Starr
"There can never be enough stories told from the vantage point of Motown's fabled Snake Pit, from one of the journeyman musicians working behind the scenes. Guitars, Bars, and Motown Superstars also shows just how frenetic and creative the Detroit music scene was in the '60s and '70s. But it's Dennis Coffey's personal story that's most gripping: the journey from Motown, to Billboard's Top Ten, to working the line at Chevrolet."
---Susan Whitall, Detroit News; author of Women of Motown
Under Berry Gordy, Motown was a place where studio musicians usually stood in the shadows, unlike the solo stars whose names appeared on the albums. Gordy held a tight rein on his musicians, forbidding them from playing for other record companies and denying them credit on his records.
In Guitars, Bars, and Motown Superstars, author and guitarist Dennis Coffey tells how he slipped Gordy's draconian rules and went on to success as both a Motown musician and a million-selling solo artist. He offers a fascinating backstage look at the Detroit, L.A., and New York music scenes in the '60s and '70s, with side trips to the smoky clubs and funky studios where the Motown sound was born.
Coffey is credited with creating a lot of that sound, including the famous guitar intro to the Temptations' classic "Cloud Nine." He played on hundreds of Motown albums, and introduced such innovations as the Wah Wah pedal into the Motown recording studio.
Guitars, Bars, and Motown Superstars is an entertaining and amusing memoir of one of the most dynamic and influential periods in contemporary pop culture, and a unique insight into the ups and downs of the studio guitar-for-hire. It's also a look at the dizzying rags-to-riches-and-back-again career of a rock musician who went from million-seller with a house in the Hollywood Hills, and ultimately back to his roots in the Detroit area. A must for fans of Motown, rock, and you-are-there pop-culture history.
Few places in the world can claim such a diversity of species as the Gulf of California (Sea of Cortez), with its 6,000 recorded animal species estimated to be half the number actually living in its waters. So rich are the Gulf's water that over a half-million tons of seafood are taken from them annually—and this figure does not count the wasted by-catch, which would triple or quadruple that tonnage. This timely book provides a benchmark for understanding the Gulf's extraordinary diversity, how it is threatened, and in what ways it is—or should be—protected.
In spite of its dazzling richness, most of the Gulf's coastline now harbors but a pale shadow of the diversity that existed just a half-century ago. Recommendations based on sound, careful science must guide Mexico in moving forward to protect the Gulf of California.
This edited volume contains contributions by twenty-four Gulf of California experts, from both sides of the U.S.-Mexico border. From the origins of the Gulf to its physical and chemical characteristics, from urgently needed conservation alternatives for fisheries and the entire Gulf ecosystem to information about its invertebrates, fishes, cetaceans, and sea turtles, this thought-provoking book provides new insights and clear paths to achieve sustainable use solidly based on robust science. The interdisciplinary, international cooperation involved in creating this much-needed collection provides a model for achieving success in answering critically important questions about a precious but rapidly disappearing ecological treasure.
Gulf to Rockies is a chapter in the business and economic history of the American West and the story of two of the most colorful railroad builders of the nineteenth century.
Throughout the 1860s the mineral treasures of Colorado were virtually inaccessible for lack of railroads. Even after a hectic decade of building in the 1870s, the state faced a new sort of isolation: every railroad crossing her borders was controlled by the Union Pacific or the Santa Fe. As a result, the Rocky Mountain region could not hope to compete with the Midwest for the business of the Atlantic seaboard.
To remedy this situation, John Evans, former governor of Colorado, organized in 1881 a railroad to run southward from Denver as the first link in a cheap rail-water route via the Gulf of Mexico to the East. Meanwhile ambitious Fort Worth citizens had incorporated the Fort Worth and Denver City in 1873. Not a rail was laid on either road, however, until General Grenville M. Dodge, famed builder of the Union Pacific and the Texas Pacific, took up the Texas project and joined forces with Evans to create the Gulf-to-Rockies route.
It took seven years for these men and their associates to mobilize funds and complete the Fort Worth–Denver line, and another decade to establish the system’s independence and solve its financial problems in the face of drought, depression, and intense competition.
Gulf to Rockies was written under special agreements with Northwestern University and the Chicago, Burlington & Quincy Railroad, whereby the university relieved Mr. Overton of a part of his duties in order that he might have time for research and writing and the railroad undertook to bear the cost of the research. The Burlington also permitted him free access to all company records and granted him unrestricted freedom to publish his findings.
Gumbo Ya Ya, Aurielle Marie’s stunning debut, is a cauldron of hearty poems exploring race, gender, desire, and violence in the lives of Black gxrls, soaring against the backdrop of a contemporary South. These poems are loud, risky, and unapologetically rooted in the glory of Black gxrlhood. The collection opens with a heartrending indictment of injustice. What follows is a striking reimagination of the world, one where no Black gxrl dies “by the barrel of the law” or “for loving another Black gxrl.” Part familial archival, part map of Black resistance, Gumbo Ya Ya catalogs the wide gamut of Black life at its intersections, with punching cultural commentary and a poetic voice that holds tenderness and sharpness in tandem. It asks us to chew upon both the rich meat and the tough gristle, and in doing so we walk away more whole than we began and thoroughly satisfied.
Gumshoe America traces the way those problems surfaced in hard-boiled crime
fiction from the1920s through the 1960s. Beginning by using a forum on the KKK in the pulp magazine Black Mask to describe both the economic and political culture of pulp fiction in the early twenties, McCann locates the origins of the hard-boiled crime story in the genre’s conflict with the racist antiliberalism prominent at the time. Turning his focus to Dashiell Hammett’s career, McCann shows how Hammett’s writings in the late 1920s and early 1930s moved detective fiction away from its founding fables of social compact to the cultural alienation triggered by a burgeoning administrative state. He then examines how Raymond Chandler’s fiction, unlike Hammett’s, idealized sentimental fraternity, echoing the communitarian appeals of the late New Deal. Two of the first crime writers to publish original fiction in paperback—Jim Thompson and Charles Willeford—are examined next in juxtaposition to the popularity enjoyed by their contemporaries Mickey Spillane and Ross Macdonald. The stories of the former two, claims McCann, portray the decline of the New Deal and the emergence of the rights-based liberalism of the postwar years and reveal new attitudes toward government: individual alienation, frustration with bureaucratic institutions, and dissatisfaction with the growing vision of America as a meritocracy. Before concluding, McCann turns to the work of Chester Himes, who, in producing revolutionary hard-boiled novels, used the genre to explore the changing political significance of race that accompanied the rise of the Civil Rights movement in the late 1950s and the 1960s.
Combining a striking reinterpretation of the hard-boiled crime story with a fresh view of the political complications and cultural legacies of the New Deal, Gumshoe America will interest students and fans of the genre, and scholars of American history, culture, and government.
Why did some central African peoples embrace gun technology in the nineteenth century, and others turn their backs on it? In answering this question, The Gun in Central Africa offers a thorough reassessment of the history of firearms in central Africa. Marrying the insights of Africanist historiography with those of consumption and science and technology studies, Giacomo Macola approaches the subject from a culturally sensitive perspective that encompasses both the practical and the symbolic attributes of firearms.
Informed by the view that the power of objects extends beyond their immediate service functions, The Gun in Central Africa presents Africans as agents of technological re-innovation who understood guns in terms of their changing social structures and political interests. By placing firearms at the heart of the analysis, this volume casts new light on processes of state formation and military revolution in the era of the long-distance trade, the workings of central African gender identities and honor cultures, and the politics of the colonial encounter.
From the first shots at Cape Hatteras in the summer of 1861 to the fall of Fort Fisher in early 1865, the contest for coastal North Carolina during the American Civil War was crucial to the Union victory. With a clear naval superiority over the South, the North conducted blockading and amphibious operations from Virginia to Texas, including the three-hundred-mile seacoast of North Carolina. With its Pamlico and Albemarle Sounds—fed by navigable rivers that reached deep into the interior—and major Confederate port of Wilmington, the Carolina coast was essential for the distribution of foreign goods and supplies to Confederate forces in Virginia and elsewhere. If the Union was able to capture Wilmington or advance on the interior waters, they would cripple the South’s war efforts.
In Gunboats, Muskets, and Torpedoes: Coastal North Carolina, 1861–1865, award-winning historian Michael G. Laramie chronicles both the battle over supplying the South by sea as well as the ways this region proved to be a fertile ground for the application of new technologies. With the advent of steam propulsion, the telegraph, rifled cannon, repeating firearms, ironclads, and naval mines, the methods and tactics of the old wooden walls soon fell to those of this first major conflict of the industrial age. Soldiers and sailors could fire farther and faster than ever before. With rail transportation available, marches were no longer weeks but days or even hours, allowing commanders to quickly shift men and materials to meet an oncoming threat or exploit an enemy weakness. Fortifications changed to meet the challenges imposed by improved artillery, while the telegraph stretched the battlefield even further. Yet for all the technological changes, many of which would be harbingers of greater conflicts to come, the real story of this strategic coast is found in the words and actions of the soldiers and sailors who vied for this region for nearly four years. It is here, where the choices made—whether good or bad, misinformed, or not made at all—intersected with logistical hurdles, geography, valor, and fear to shape the conflict; a conflict thatwould ultimately set the postwar nation on track to becoming a modern naval power.
Tantalizing cuisine from the renowned restaurant.
The Gunflint Lodge is Minnesota’s premier resort because of its pristine wilderness location, warm hospitality, and access to some of the finest fishing in the world. Visitors come from across the country not just for the outdoor activities, but for the food served in its rustic lodge.
Whether it’s Opening Day Walleye Fillets with Morel Mushroom Cream Sauce, or Roast Breast of Chicken Pistache with Blackberry Sauce, the Gunflint’s elegant menu, featured recently in Bon Appétit, Men's Journal , and Midwest Living, has won acclaim for inventiveness and sense of northwoods style.
The Gunflint Lodge Cookbook is a “reader’s cookbook,” organized by season with introductory essays by chef Ron Berg. Berg delights in adding fresh Minnesota ingredients to his Gunflint Blueberry Pie and his Wild Rice and Smoked Chicken Soup. There is an extensive section on fish cookery, including tips on frying, sautéing, and grilling, and recipes for a selection of breads, batters, and sauces for fish.
The Gunflint Lodge Cookbook is more than just recipes, however. Resort owner Sue Kerfoot writes about life at the lodge, feeding hungry visitors, and running a gourmet kitchen far from civilization. Justine Kerfoot’s (Woman of the Boundary Waters) introduction looks at lodge history stretching back to 1927, including filling the icehouse, securing ingredients, and pinch-hitting when the chef quits mid-season.
The Gunflint Lodge Cookbook will delight readers with tasty offerings and favorite anecdotes of life on the Gunflint Trail.
“The best way to get to know Justine Kerfoot would be to explore a northern forest with her. The next best way to know ‘Just’ is on these pages. Here Justine is at her best, sharing with us her romantic and colorful, and sometimes a tad dangerous, life.” —Les Blacklock
Step off the Gunflint Trail, stride to a high point, and savor the view. Only the dark, cool waters and the rugged granite shores interrupt the panorama of the sweeping forest. In this engaging memoir, local pioneer Justine Kerfoot chronicled a year’s worth of experiences and insights while living on the legendary Gunflint Trail. The unique month-by-month chapters of Gunflint and Kerfoot’s rich memories provide a year-round view of a wilderness life that most of us glimpse only in all-too-short weekend interludes.
Justine Kerfoot (1906–2001) lived on Minnesota’s remote Gunflint Trail for more than six decades. She wrote of her adventures and travel in a weekly column for the Cook County News-Herald for forty-five years and is the author of Woman of the Boundary Waters (Minnesota, 1994).
Behind the passionate debate over gun control and armed crime lurk assumptions about the link between guns and violence. Indeed, the belief that more guns in private hands means higher rates of armed crime underlies most modern gun control legislation. But are these assumptions valid?
Investigating the complex and controversial issue of the real relationship between guns and violence, Joyce Lee Malcolm presents an incisive, thoroughly researched historical study of England, whose strict gun laws and low rates of violent crime are often cited as proof that gun control works. To place the private ownership of guns in context, Malcolm offers a wide-ranging examination of English society from the Middle Ages to the late twentieth century, analyzing changing attitudes toward crime and punishment, the impact of war, economic shifts, and contrasting legal codes on violence. She looks at the level of armed crime in England before its modern restrictive gun legislation, the limitations that gun laws have imposed, and whether those measures have succeeded in reducing the rate of armed crime.
Malcolm also offers a revealing comparison of the experience in England experience with that in the modern United States. Today Americans own some 200 million guns and have seen eight consecutive years of declining violence, while the English--prohibited from carrying weapons and limited in their right to self-defense have suffered a dramatic increase in rates of violent crime.
This timely and thought-provoking book takes a crucial step in illuminating the actual relationship between guns and violence in modern society.
The NRA steadfastly maintains that the 30,000 gun-related deaths and 300,000 assaults with firearms in the United States every year are a small price to pay to guarantee freedom. As former NRA President Charlton Heston put it, "freedom isn't free."
And when gun enthusiasts talk about Constitutional liberties guaranteed by the Second Amendment, they are referring to freedom in a general sense, but they also have something more specific in mind---freedom from government oppression. They argue that the only way to keep federal authority in check is to arm individual citizens who can, if necessary, defend themselves from an aggressive government.
In the past decade, this view of the proper relationship between government and individual rights and the insistence on a role for private violence in a democracy has been co-opted by the conservative movement. As a result, it has spread beyond extreme "militia" groups to influence state and national policy.
In Guns, Democracy, and the Insurrectionist Idea, Josh Horwitz and Casey Anderson reveal that the proponents of this view base their argument on a deliberate misreading of history. The Insurrectionist myth has been forged by twisting the facts of the American Revolution and the founding of the United States, the denial of civil rights to African-Americans after the Civil War, and the rise of the Third Reich under Adolf Hitler. Here, Horwitz and Anderson set the record straight. Then, challenging the proposition that more guns equal more freedom, they expose Insurrectionism---not government oppression---as the true threat to freedom in the U.S. today.
Joshua Horwitz received a law degree from George Washington University and is currently a visiting scholar at the Johns Hopkins Bloomberg School of Public Health. He is Executive Director of the Coalition to Stop Gun Violence and the Educational Fund to Stop Gun Violence. He has spent nearly two decades working on gun violence prevention issues. He lives in Arlington, Virginia.
Casey Anderson holds a law degree from Georgetown University and is currently a lawyer in private practice in Washington, D.C. He has served in senior staff positions with the U.S. Congress, the Coalition to Stop Gun Violence, and Americans for Gun Safety. He lives in Arlington, Virginia.
For decades, Colombia has contended with a variety of highly publicized conflicts, including the rise of paramilitary groups in response to rebel insurgencies of the 1960s, the expansion of an illegal drug industry that has permeated politics and society since the 1970s, and a faltering economy in the 1990s. An unprecedented analysis of these struggles, Guns, Drugs, and Development in Colombia brings together leading scholars from a variety of fields, blending previously unseen quantitative data with historical analysis for an impressively comprehensive assessment. Culminating in an inspiring plan for peace, based on Four Cornerstones of Pacification, this landmark work is sure to spur new calls for change in this corner of Latin America and beyond.
The contributors include the editors and Carl T. Bogus, Jennifer Carlson, Saul Cornell, Darrell A.H. Miller, Laura Beth Nielsen, and Katherine Shaw.
"Gunslinger is a fundamental American masterpiece."---Thomas McGuane
This fiftieth anniversary edition commemorates Edward Dorn’s masterpiece, Gunslinger, a comic, anti-epic critique of American capitalism that still resonates today. Set in the American West, the Gunslinger, his talking horse Claude Lévi-Strauss, a saloon madam named Lil, and the narrator called “I” set out in search of the billionaire Howard Hughes. As they travel along the Rio Grande to Truth or Consequences, New Mexico, and finally on to Colorado, they are joined by a whole host of colorful characters: Dr. Jean Flamboyant, Kool Everything, and Taco Desoxin and his partner Tonto Pronto. During their adventures and hijinks, as captured in Dorn’s multilayered, absurd, and postmodern voice, they joke and smoke their way through debates about the meaning of existence. Put simply, Gunslinger is an American classic.
In a new foreword Marjorie Perloff discusses Gunslinger's continued relevance to contemporary politics. This new edition also includes a critical essay by Michael Davidson and Charles Olson’s idiosyncratic “Bibliography on America for Ed Dorn,” which he wrote to provide guidance for Dorn's study of, and writing about, the American West.
Illuminating the mediatization of guruship and the guruization of media, this book bridges the gap between scholarship on gurus and the disciplines of media and visual culture studies. It investigates guru iconographies in and across various time periods and also the distinctive ways in which diverse gurus engage with and inhabit different forms of media: statuary, games, print publications, photographs, portraiture, films, machines, social media, bodies, words, graffiti, dolls, sound, verse, tombs, and more.
The book’s interdisciplinary chapters advance, both conceptually and ethnographically, our understanding of the function of media in the dramatic production of guruship and reflect on the corporate branding of gurus and on mediated guruship as a series of aesthetic traps for the captivation of devotees and others. They show how different media can further enliven the complex plurality of guruship, for instance in instantiating notions of “absent-present” guruship and demonstrating the mutual mediation of gurus, caste, and Hindutva.
Gurus and Media foregrounds contested visions of the guru in the development of devotional publics and pluriform guruship across time and space. Thinking through the guru’s many media entanglements in a single place, this book contributes new insights to the study of South Asian religions and to the study of mediation more broadly.
A Guru's Journey provides an ethnographic study of the dance form in the San Francisco Bay Area community formed by Das. Sarah Morelli, a kathak dancer and one of Das's former students, investigates issues in teaching, learning, and performance that developed around Das during his time in the United States. In modifying kathak's form and teaching for Western students, Das negotiates questions of Indianness and non-Indianness, gender, identity, and race. Morelli lays out these issues for readers with the goal of deepening their knowledge of kathak aesthetics, technique, and theory. She also shares the intricacies of footwork, facial expression in storytelling, and other aspects of kathak while tying them to the cultural issues that inform the dance.
Brownderville commands the complex eloquence of Southerners who love not only local color but also high-flown rhetoric. Instead of reinforcing stereotypes about rural folks' thought and speech, he challenges our assumptions by presenting real life as a festival of mixed diction. Church, as Brownderville enacts it, both quickens and forbids the erotic, whose lightning flashes and crashes everywhere in these poems. Highlights include a press conference with a bizarrely poetic rural sheriff, a Zimbabwean meter never before employed in English, a rock and roll song interrupted by a Walmart intercom, and poems about the exploitation of Italians in Arkansas cotton fields.
At once evoking Yeats and Whitman, Gust recovers the dramatic mode often neglected in contemporary American poetry. Brownderville's uncanny lyricism storms through stories that are both moving and humorous.
This is the travel diary of a young German businessman who came to Texas and worked for several years in Houston and the surrounding areas. His diary, originally published in German as Texanisches Tagebuch, gives a fascinating view of life in the Texas republic.
This first publication of their correspondence, which includes twenty-five previously unknown Strauss letters, offers a portrait of two men who were as antithetical in their musical means and goals as in their temperaments and personalities, but who exercised a strong fascination for one another. These sixty-three letters show both composers advancing in their careers as they battled against adverse conditions in the musical world at the turn of the century. They present Mahler's energetic support of Strauss's Symphonia Domestica, which Mahler conducted in 1904 and, in turn, Strauss's championing of Mahler's music, especially the Second and Third Symphonies.
The correspondence is fully annotated and is supplemented with a major essay by Herta Blaukopf.
"Unfailingly absorbing. . . . An indispensable addition to the literature on these composers."—Norman Del Mar, Times Literary Supplement
The essays that comprise this volume exemplify the best aspects of recent Caillebotte scholarship. They employ a variety of perspectives to examine the ways in which his art sheds light on the formation of individual and class identities in Paris during the early years of the Third Republic—an era of transition marked by the burgeoning of capitalism and the instabilities of newly shifting gender roles in the modern world.
Addressing a wide range of major paintings by Caillebotte, the contributors reveal the compound ways in which the artist encoded his images and the multiple interpretations to which these images are susceptible. Juxtaposed so as to complement and challenge one another, these essays build a provocative whole as they probe issues of spectatorship and authorial intention. The contributors—all internationally known scholars and art professionals—create an important theoretical framework for the discussion of Caillebotte’s work.
More than any other French Impressionist, painter Gustave Caillebotte (1848–1894) observed and depicted the many men in his life, including his brothers and friends, employees, and the workers and bourgeois in his Parisian neighborhood. Male subjects feature prominently in some of his best-known works, such as The Floor Scrapers, Man at His Bath, Young Man at His Window, Boating Party, and Paris Street, Rainy Day. The originality of his paintings of men is fully explored for the first time in this catalogue, published to accompany a major international exhibition co-organized by the J. Paul Getty Museum, Musée d’Orsay, and the Art Institute of Chicago.
Alongside paintings, drawings, and photographs, as well as an appendix featuring maps and new biographical research that sheds light on Caillebotte’s social network, this volume includes historically grounded thematic essays by curators and leading scholars. By exploring the complex and varied facets of Caillebotte’s identity—as son, brother, soldier, bachelor, amateur, sportsman, and so on—these essays pose questions of identity, leaving space for ambiguous and fluid expressions of gender and masculinity—for both Caillebotte and the larger late nineteenth-century French world.
This volume is published to accompany an exhibition on view at the Musée d’Orsay from October 8, 2024, to January 19, 2025, J. Paul Getty Museum at the Getty Center from March 25 to May 25, 2025, and The Art Institute of Chicago from June 29 to October 5, 2025.
The book features fifty of Caillebotte’s strongest paintings, including post-conservation images of Paris Street; Rainy Day, along with The Floorscrapers and Pont de l’Europe, all of which date from a particularly fertile period between 1875 and 1882. The artist was criticized at the time for being too realistic and not impressionistic enough, but he was a pioneer in adopting the angled perspective of a modern camera to compose his scenes. Caillebotte’s skill and originality are evident even in the book’s reproductions, and the essays offer critical insights into his inspiration and subjects.
This sumptuously illustrated publication makes clear why Caillebotte is among the most intriguing artists of nineteenth-century France, and it deepens our understanding of the history of impressionism.
In this new critical biography, Anne Green draws on Flaubert’s voluminous correspondence and unpublished manuscripts to reveal the extent to which his writing was haunted by traumatic early experiences. She weaves discussion of his work into an intimate account of Flaubert’s life and volatile character, following him from his childhood in Rouen to his student days in Paris, from his extensive travels through North Africa to the imperial court of Napoleon III. Green pays special attention to Flaubert’s close family relationships, love-affairs, and friendships with literary figures, including Turgenev, Sand, Zola, Maupassant, and the Goncourt brothers. This concise and informative biography is a must-read for lovers of literature everywhere.
Amanda Larson’s Gut begins with an epigraph from Frank O’Hara: “Pain always produces logic, which is very bad for you.” From there, Larson launches an unflinching interrogation of how a young woman maintains agency in the wake of trauma, violence, and desire. Larson spins a conversation between works of feminist theory—including the those of Cathy Caruth, Susan Bordo, Patricia Hill Collins, Anne Carson, Hélène Cixous, and bell hooks—and her own experiences. The book moves through Larson’s recovery while questioning the limits of the very term and of language as a whole. She employs a variety of different forms, including prose, Q&A poems, and a timeline, reflecting both the speaker’s obsession with control and her growing willingness to let it go. With a measured voice, Larson finds a path for how to move beyond logic during processes of trauma and recovery.
Gut won the Omnidawn 1st/2nd Book Contest, selected by Jericho Brown.
A fascinating ethnography of microbes that opens up new spaces for anthropological inquiry
The trillions of microbes in and on our bodies are determined by not only biology but also our social connections. Gut Anthro tells the fascinating story of how a sociocultural anthropologist developed a collaborative “anthropology of microbes” with a human microbial ecologist to address global health crises across disciplines. It asks: what would it mean for anthropology to act with science? Based partly at a preeminent U.S. lab studying the human microbiome, the Center for Genome Sciences at Washington University, and partly at a field site in Bangladesh studying infant malnutrition, it examines how microbes travel between human guts in the “field” and in microbiome laboratories, influencing definitions of health and disease, and how the microbiome can change our views on evolution, agency, and life.
As lab scientists studied the interrelationships between gut microbes and malnutrition in resource-poor countries, Amber Benezra explored ways to reconcile the scale and speed differences between the lab, the intimate biosocial practices of Bangladeshi mothers and their children, and the looming structural violence of poverty. In vital ways, Gut Anthro is about what it means to collaborate—with mothers, local field researchers in Bangladesh, massive philanthropic global health organizations, with the microbiome scientists, and, of course, with microbes. It follows microbes through various enactments in scientific research—microbes as kin, as data, and as race. Revealing how racial categories are used in microbiome research, Benezra argues that microbial differences need transdisciplinary collaboration to address racial health disparities without reifying race as a straightforward biological or social designation.
Gut Anthro is a tour de force of science studies and medical anthropology as well as an intensely personal and deeply theoretical accounting of what it means to do anthropology today.
Cover alt text:
Black background overlaid with a pink organic path suggestive of a human digestive system. Title appears within the guts as if being processed.
Gerber writes of her apprenticeships with celebrated writing teachers Andrew Lytle and Wallace Stegner and recounts her ghostly (and ghastly) experiences during a month at Yaddo, the famous retreat for artists. Gerber includes three pieces in the book—originally published as stories—but which blur the line between fiction and memoir, demonstrating Gerber’s contention that the deepest secrets in life beget the most passionate fictions.
Winner, 2022 Miller Williams Poetry Prize
J. Bailey Hutchinson’s Gut is the dazzling debut of a born storyteller. In Hutchinson’s poems, which explore the substance of personal history, family attains the mysterious stature of folklore, while the vast worlds of nature and of the imagination abound with extraordinary creatures that likewise elude full understanding. For the voracious consciousness at work here, inheritance—what it means to be from a particular place and a particular people, no matter how one might strain against that—lies at the very heart of things.
Gutai is the first book in English to examine Japan’s best-known modern art movement, a circle of postwar artists whose avant-garde paintings, performances, and installations foreshadowed many key developments in American and European experimental art.
Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutai’s pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movement’s field of reception and influence global in scope. Using these lines of transmission to claim a place for Gutai among modernist art practices while tracing the impact of Japan on art in Europe and America, Tiampo demonstrates the fundamental transnationality of modernism. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history.
Gutenberg’s technical innovations remained unrivalled for almost 350 years, until industrialization of the printing industry and the digital revolution built on the advances that he began, increasing the rate at which information is spread. Despite his significance in forming the world as we know it, there has not yet been a rigorous and accessible biography of Gutenberg published in English. Written by the leading expert on Gutenberg, Füssel’s biography brings together high academic standards and thorough historical details in a highly readable text that conveys everything you need to know about the man who changed printing forever.
Furlani explores key themes across the spectrum of Davenport's fiction: pastoral utopia; twentieth-century dystopia; sexual ethics; the mythologizing of childhood; the inseparability of the archaic and the modern; and a celebration of the union of sophia, eros, and poesia. Whether Davenport's view of art and the cosmos should be called "postmodern" is a question that Furlani considers closely--offering, finally, a new aesthetic for this American original who, in these pages, at last receives the thorough and meticulous attention he has long merited.
In this insightful and compelling biography, the only one in English currently available, Christopher Lloyd situates Maupassant’s life and work in the literary and social context of nineteenth-century France. He skillfully introduces the reader to Maupassant’s most famous works, such as Boule de suif, Bel-Ami, and Pierre et Jean, as well as highlights the important stages and achievements of his life and legacy.
Merrifield explores the dynamics of Debord's ideas and works, including the groundbreaking Howls for Sade and his 1967 classic, The Society of the Spectacle. Debord understood life as art, Merrifield argues, and through that lens he chronicles Debord's stint as a revolutionary leader in the 1950s and 1960s, his time in Spain and Italy during the 1970s and the reclusive years leading up to his death in 1994.
Dada and Surrealism's legacy and punk rock's god, Guy Debord spun theories on democracy, people, and political power that still resonate today, making Merrifield's concise yet comprehensive study an invaluable resource on one of the foremost intellectual revolutionaries of the twentieth century.
Marshall explores all aspects of Hocquenghem’s writing—journalistic, theoretical, and fictional—much of this work still untranslated. His consideration reaches beyond the aftermath of the events of May 1968 and points toward the ways in which Hocquenghem’s work might invigorate contemporary debates on a range of issues in Marxist and queer theory and in gay, lesbian, and cultural studies. These include the construction of homosexuality in social discourse, the status of "identity politics," and the role of the state and civil society in the determination of each. Demonstrating Hocquenghem’s importance within the framework of French leftist thought, Marshall links him to his contemporaries Foucault, Deleuze, and Guattari. Tracing his connections to the intellectual traditions of Benjamin, Diderot, Fourier, Lucretius, and Gnosticism, he also illustrates Hocquenghem’s place within the European intellectual tradition.Guy Hocquenghem brings an important, challenging, and overly neglected French theorist back to the main stage.
The story of Sir Guy, once as familiar as the tales of King Arthur, is now largely forgotten.
Originally composed about 1240 A.D., this heroic romance early circulated in countless manuscripts, first in poetic, then in expanded prose form. Later, in 1525, the extended version was printed in French, and later still, in 1821, it was rendered into English. That last essential act unfortunately served little purpose, since the translation was thereafter available only to successive descendants of the family that prepared it. In 1959, however, The University of Texas acquired this unique translation, followed by a copy of the rare 1525 issue in 1963, and with both texts rejoined now offers, through William B. Todd, one final service: an edition for present readers.
So rescued from oblivion, Guy of Warwick emerges as a grand exemplum of chivalric conduct. Perhaps even more than Arthur, or Launcelot, or Galahad, the hero is a very proper knight, displaying at once all the mundane attributes of nobility: unswerving loyalty to kin, kith, and king; the ready rescue of damsels in distress; the prompt dispatch of dragons, giants, or other enemies of the realm—and in aftertime exhibiting also all the spiritual qualities of true gentility: defense of the faith against every infidel, mortification of the flesh, and final withdrawal to a hermitage. Thus Guy may rightly deserve not only his early accolade as the "Hercules of England" but also some measure of the tribute usually reserved for a patron saint. However regarded, this knight's exploits must necessarily rank as one of the great "matters of Britain" and again become an essential part of Western cultural heritage.
There was one guy we didn't invite to the orgy. We invited everyone else: Solaire because she's crazy and John and Walt because they're both so good-looking and they're dating anyway, and we invited Amy because everybody just loves Amy. We even invited Miranda just because she's the jealous type, and since her sister was in town we threw the door open to her sister, too. But there was this one guy we didn't invite.
The stories in The Guy We Didn't Invite to the Orgy—funny, surprising, compassionate, true to life—are about people navigating the trickiest of landscapes: a world full of other people. Each of these characters wants to know, in her or his own way, given the crazy ups and downs and ins and outs of relationships, is it better to go it alone, or is it better to try to carve out a place for yourself, whatever it takes?
Nearly a century before the United States declared the end of the Indian Wars, the fate of Native Americans was revealed in the battle of Fallen Timbers. In 1794, General Anthony Wayne led the first American army— the Legion of the United States—against a unified Indian force in the Ohio country. The Indians were routed and forced to vacate their lands. It was the last of a series of Indian attempts in the East to retain their sovereignty and foreshadowed what would occur across the rest of the continent. In Guyasuta and the Fall of Indian America, historian Brady J. Crytzer traces how American Indians were affected by the wars leading to American Independence through the life of one of the period’s most influential figures. Born in 1724, Guyasuta is perfectly positioned to understand the emerging political landscape of America in the tumultuous eighteenth century. As a sachem of the vaunted Iroquois Confederacy, for nearly fifty years Guyasuta dedicated his life to the preservation and survival of Indian order in a rapidly changing world, whether it was on the battlefield, in the face of powerful imperial armies, or around a campfire negotiating with his French, British, and American counterparts. Guyasuta was present at many significant events in the century, including George Washington’s expedition to Fort Le Boeuf, the Braddock disaster of 1755, Pontiac’s Rebellion and the Battle of Bushy Run in 1763, and the Battle of Oriskany during the American Revolution. Guyasuta’s involvement in the French and British wars and the American War for Independence were all motivated by a desire to retain relevance for Indian society. It was only upon the birth of the United States of America that Guyasuta finally laid his rifle down and watched as his Indian world crumbled beneath his feet. A broken man, debilitated by alcoholism, he died near Pittsburgh in 1794.
Supported by extensive research and full of compelling drama, Guyasuta and the Fall of Indian America unravels the tangled web of alliances, both white and native, and explains how the world of the American Indians could not survive alongside the emergent United States.
Guys Like Me introduces us to five ordinary men who have done extraordinary work as peace activists: World War II veteran Ernie Sanchez, Korean War veteran Woody Powell, Vietnam veteran Gregory Ross, Gulf War veteran Daniel Craig, and Operation Iraqi Freedom veteran Jonathan Hutto. Acclaimed sociologist Michael Messner offers rich profiles of each man, recounting what led him to join the armed forces, what he experienced when fighting overseas, and the guilt and trauma he experienced upon returning home. He reveals how the pain and horror of the battlefront motivated these onetime warriors to reconcile with former enemies, get involved as political activists, and help younger generations of soldiers.
Guys Like Me is an inspiring multigenerational saga of men who were physically or psychically wounded by war, but are committed to healing themselves and others, forging a path to justice, and replacing endless war with lasting peace
The most detailed and well-illustrated study of material culture for any northern Athabascan language group to date, Gwich’in Athabascan Implements reproduces pre- and early post-contact tools that are historically important to the Athabaskan people. A long-term collaboration between anthropologist Thomas O’Brien and Athabascan elder David Salmon, this volume provides more than one hundred one-to-one sketches of a wide variety of implements, many of which are no longer commonly found in use.
These interview subjects are at a “ground zero” of climate change, and their voices are largely absent from popular research on and discussion of the topic. Their traditional knowledge of Arctic flora and fauna, forestation, landforms, meteorology, airstream behavior, and river hydrology makes a significant contribution to the documentation of climate change. In addition, Gilbert bridges the Gwich’in worldview and that of Western science by including factual substantiation and citations that corroborate key observations in the Gwich’in transcripts.
A text that matters for its cultural and historical significance—as well as its potential impact on the way science and policy are conducted in rural Alaska and on public lands—TheGwich’in Climate Report will be of interest to residents of and stakeholders in the communities it represents as well as researchers concerned with on-the-ground conditions of ecosystems and Indigenous peoples most directly affected by climate change.
In Gypsy Music, Alan Ashton-Smith explores why this music has such wide appeal, surveying the varied styles that are considered to be gypsy music and asking what links them together. The book begins in the Balkans, home to the world’s largest Romani populations and a major site of gypsy music production. But just as the traditionally nomadic Roma have traveled globally, so has their music. Gypsy music styles have roots and associations outside of the Balkans, including Russian Romani guitar music, flamenco and gypsy jazz, and the more recent forms of gypsy punk and Balkan beats.
Covering the thirteenth century to the present day, and with a geographical scope that ranges from rural Romania to New York by way of Budapest, Moscow, and Andalusia, Gypsy Music reveals the remarkable diversity of this exuberant art form.
In Gypsy World, Patrick Williams argues that these customs are at the center of how Manuš see the world and their place in it. The Manuš inhabit a world created by the "Gadzos" (non-Gypsies), who frequently limit or even prohibit Manuš movements within it. To claim this world for themselves, the Manuš employ a principle of cosmological subtraction: just as the dead seem to be absent from Manuš society, argues Williams, so too do the Manuš absent themselves from Gadzo society—and in so doing they assert and preserve their own separate culture and identity.
Anyone interested in Gypsies, death rituals, or the formation of culture will enjoy this fascinating and sensitive ethnography.
Günter Grass is the first biography in English of this Nobel Prize–winning writer. Julian Preece introduces both Grass’s key works and political activities, chronicling his interaction with major figures from literary and public life like holocaust poet Paul Celan, Chancellor Helmut Kohl, and cofounder of the Red Army Faction Ulrike Meinhof. From Grass’s campaigning as a citizen for the anti-Nazi resistor and Social Democrat leader Willy Brandt to his more recent invectives against free-market capitalism, Preece places Grass’s fiction and public work in the context of Cold War European politics and post-unification Germany, painting an indelible portrait of a writer who reinvented the postwar German novel and redefined the role of literary commitment.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
RECENTLY PUBLISHED
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press