A SCHOLARLY BOOK REPOSITORY
“AIDS is more than an epidemic disease,” Treichler writes, “it is an epidemic of meanings.” Exploring how such meanings originate, proliferate, and take hold, her essays investigate how certain interpretations of the epidemic dominate while others are obscured. They also suggest ways to understand and choose between overlapping or competing discourses. In her coverage of roughly fifteen years of the AIDS epidemic, Treichler addresses a range of key issues, from biomedical discourse and theories of pathogenesis to the mainstream media’s depictions of the crisis in both developed and developing countries. She also examines representations of women and AIDS, treatment issues, and the role of activism in shaping the politics of the epidemic. Linking the AIDS tragedy to a uniquely broad spectrum of contemporary theory and culture, this collection concludes with an essay on the continued importance of theoretical thought for untangling the sociocultural phenomena of AIDS—and for tackling the disease itself.
With an exhaustive bibliography of critical and theoretical writings on HIV and AIDS, this long-awaited volume will be essential to all those invested in studying the course of AIDS, its devastating medical effects, and its massive impact on contemporary culture. It should become a standard text in university courses dealing with AIDS in biomedicine, sociology, anthropology, gay and lesbian studies, women’s studies, and cultural and media studies.
There is no easy way to identify grasses. And no one understands this better than H.D. Harrington, who observed thousands of students struggle and learn. His clear, concise, and well-organized guide will continue to be a basic and essential text for use in the classroom or in the field. The book contains over 500 drawings and an illustrated glossary.
First issued in 1957 by Swallow Press, this classic guide to the art of plant identification is now familiar to an entire generation of students. Harrington who was Professor of Botany and Curator of the Herbarium at Colorado State University, gives step-by-step instructions and definitions to help readers recognize and classify plants. The new printing has been reset and reformatted, and L.W. Durrell’s drawings and glossary—more than 500 images—have been digitally enhanced for clarity.
These pages are infused with comfort, with desire, with heartache. Never absent is love, family. Hernández—hyperaware of American society’s dismissal or hatred of people who look like him—writes with a refreshing confidence, a sure knowledge of who he is and where he comes from. Transcending any particular experience, this volume will continue to resonate with multiple readings.
Crucet’s writing has been shaped by the people and landscapes of South Florida and by the stories of Cuba told by her parents and abuelos. Her own stories are informed by her experiences as a Cuban American woman living within and without her community, ready to leave and ready to return, “ready to mourn everything.”
Coming to us from the predominantly Hispanic working-class neighborhoods of Hialeah, the voices of this steamy section of Miami shout out to us from rowdy all-night funerals and kitchens full of plátanos and croquetas and lechón ribs, from domino tables and cigar factories, glitter-purple Buicks and handed-down Mom Rides, private homes of santeras and fights on front lawns. Calling to us from crowded expressways and canals underneath abandoned overpasses shading a city’s secrets, these voices are the heart of Miami, and in this award-winning collection Jennine Capó Crucet makes them sing.
The second edition is updated with the addition of two new chapters, 10 color plates, and a new foreword by renowned geographer H. J. de Blij. One new chapter examines the role of national interest and cultural values in national mapping organizations, including the United States Geological Survey, while the other explores the new breed of multimedia, computer-based maps.
To show how maps distort, Monmonier introduces basic principles of mapmaking, gives entertaining examples of the misuse of maps in situations from zoning disputes to census reports, and covers all the typical kinds of distortions from deliberate oversimplifications to the misleading use of color.
"Professor Monmonier himself knows how to gain our attention; it is not in fact the lies in maps but their truth, if always approximate and incomplete, that he wants us to admire and use, even to draw for ourselves on the facile screen. His is an artful and funny book, which like any good map, packs plenty in little space."—Scientific American
"A useful guide to a subject most people probably take too much for granted. It shows how map makers translate abstract data into eye-catching cartograms, as they are called. It combats cartographic illiteracy. It fights cartophobia. It may even teach you to find your way. For that alone, it seems worthwhile."—Christopher Lehmann-Haupt, The New York Times
". . . witty examination of how and why maps lie. [The book] conveys an important message about how statistics of any kind can be manipulated. But it also communicates much of the challenge, aesthetic appeal, and sheer fun of maps. Even those who hated geography in grammar school might well find a new enthusiasm for the subject after reading Monmonier's lively and surprising book."—Wilson Library Bulletin
"A reading of this book will leave you much better defended against cheap atlases, shoddy journalism, unscrupulous advertisers, predatory special-interest groups, and others who may use or abuse maps at your expense."—John Van Pelt, Christian Science Monitor
"Monmonier meets his goal admirably. . . . [His] book should be put on every map user's 'must read' list. It is informative and readable . . . a big step forward in helping us to understand how maps can mislead their readers."—Jeffrey S. Murray, Canadian Geographic
Fully updated for the digital age, this new edition of How to Lie with Maps examines the myriad ways that technology offers new opportunities for cartographic mischief, deception, and propaganda. While retaining the same brevity, range, and humor as its predecessors, this third edition includes significant updates throughout as well as new chapters on image maps, prohibitive cartography, and online maps. It also includes an expanded section of color images and an updated list of sources for further reading.
—Joan Wickersham
In 1958, ad man and soon-to-be best-selling author Shepherd Mead moved to England with his family to pursue his career. Six years later, his observations on the oddities of British culture were enough to compile a satirical guidebook for fellow Americans planning to visit from across the pond. The blunders that could befall them were many. For instance, explains Mead, “Pants are always underpants and what you wear out in the open are trousers. Mistakes in this area can lead to nasty misunderstandings.”
How to Live, What to Do is an indispensable introduction to and guide through the work of a poet equal in power and sensibility to Shakespeare and Milton. Like them, Stevens shaped a new language, fashioning an instrument adequate to describing a completely changed environment of fact, extending perception through his poems to align what Emerson called our “axis of vision” with the universe as it came to be understood during his lifetime, 1879–1955, a span shared with Albert Einstein. Projecting his own imagination into spacetime as “a priest of the invisible,” persistently cultivating his cosmic consciousness through reading, keeping abreast of the latest discoveries of Einstein, Max Planck, Niels Bohr, Louis de Broglie, and others, Stevens pushed the boundaries of language into the exotic territories of relativity and quantum mechanics while at the same time honoring the continuing human need for belief in some larger order. His work records how to live, what to do in this strange new world of experience, seeing what was always seen but never seen before.
Joan Richardson, author of the standard two-volume critical biography of Stevens and coeditor with Frank Kermode of the Library of America edition of the Collected Poetry and Prose, offers concise, lucid captures of Stevens’s development and achievement. Over the ten years of researching her Stevens biography, Richardson read all that he read, as well as his complete correspondence, journals, and notebooks. She weaves the details drawn from this deep involvement into the background of American cultural history of the period. This fabric is further enlivened by her preparation in philosophy and the sciences, creating in these thirteen panels a contemporary version of a medieval tapestry sequence, with Stevens in the place of the unicorn, as it were, holding our attention and eliciting, as necessary angel, individual solutions to the riddles of our existence on this planet spinning and hissing around its cooling star at 18.5 miles per second.
Ever since the publication of her first H.D. essay in 1985 (included here in an expanded version), Morris has eschewed prevailing literary trends in favor of new approaches that both challenge and overpass dominant critical constructs. As she argues in this volume, the writing and, crucially, the reading of poetry is a process in which meaning is produced by the interplay of words on a page and in the ear of the reader. This quality of being not heard but overheard, composed within the body, is crucial to an appreciation of H.D.
Morris shows H.D. to be a playful linguistic innovator whose writings bear on debates in science, technology, and cinema as well as on poetry. Foremost, however, H.D. was a profound reshaper of the boundaries and possibilities of poetry, a generative form that, as this book shows, can indeed serve the cultural work of survival and resistance against the violence of modern culture.
This book starts by helping new lobbyists to think politically, by explaining the structure and operation of state government, the psychology and needs of public officials, and where the power lies in Juneau—who’s got political clout. How to Lobby then moves into the nitty-gritty of a lobbying campaign. It covers the basics of group influence, campaign planning and management, the pros and cons of various group tactics, tips on face-to-face meetings, and the challenges of lobbying day-to-day. In addition to extensive guidance on what to do, this book also emphasizes the things to avoid that will undermine or eliminate a lobbyist’s chances of success. Pragmatic and portable, this book will be valuable to new and professional lobbyists both, and anyone looking for fresh perspectives on this important business.
How to Look Good in A War examines the methods used to depict, defend and justify the use of state violence. Many books have shown how 'truth is the first casualty of war' but this is the first to analyse exactly how pro-war narratives are constructed and normalised.
Brian Rappert details the 'upside-down' world of war in which revelation conceals, knowledge fosters uncertainty, and transparency obscures. He looks at government spin during recent wars in Iraq, Afghanistan and Libya where officials manoeuvre between circulating and withholding information.
Examining how organised violence is justified, How to Look Good in A War draws on experiences from recent controversy to consider how ignorance about the operation of war is produced and how concerned individuals and groups can intervene to make a difference.
Wrestling with desire, shame, and the complications of attempting to resist one's own nature, How to Love Everyone and Almost Get Away with It offers a tragicomic tour of a heart in midlife crisis. Populated by unruly angels, earthbound astronauts, xylophones, wordplay, and glitter glue, these wildly associative poems transform the world line by line, image by image. Part confessional, part kitsch, and often self-deprecating, this debut collection offers an honest and tender exploration of love's necessary absurdity. Lara Egger asks: Who put the end in crescendo, the over in lover? Are metaphors always reliable witnesses? Why does the past sleep with us when we hope the person beside us is the future?
When Madeline Uraneck said hello to the Tibetan woman cleaning her office cubicle, she never imagined the moment would change her life. After learning that Tenzin Kalsang had left her husband and four children behind in a Tibetan refugee settlement in India to try to forge a better life for them, Madeline took on the task of helping her apply for US visas. When the family reunited in their new Midwestern home, Madeline became swept up in their lives, from homework and soccer games to family dinners and shared holiday traditions. By reaching out, she found more than she bargained for—a family who welcomed her as their own and taught her more than she offered them.
An evocative blend of immersion journalism and memoir, How to Make a Life shares the immigration story of a Tibetan refugee family who crossed real and cultural bridges to make a life in Madison, Wisconsin, with the assistance of the Midwestern woman they befriended. From tales of escaping Tibet over the Himalayas, to striking a balance between old traditions with new, to bridging divides one friendly gesture at a time, readers will expand their understanding of family, culture, and belonging.
The first third of the twentieth century saw a seismic upheaval in global politics and society that still reverberates today. Communism and fascism toppled both traditional monarchies and representative democracies, while trade unions and other factions effectively challenged existing governments to adopt reforms or face crippling economic or social upheaval. Given these extraordinary events, Raymond Postgate set forth in How to Make a Revolution to objectively discuss revolutionary methods, and which tactics or strategies are the most effective. Drawing on his own idealistic experience as a young labor agitator and editor of a communist newspaper and more than fifteen years of close study of past revolutionary history and theories, the author dispassionately discusses Marxism, fascism, anarchism, and Blanquism (a doctrine within socialism), as well as syndicalism and industrial unionism. He then reviews revolutionary practice, including general strikes, financial pressure, armed revolution, and communist tactics, and ends with a prescient and frightening conclusion: without general consensus and determination, a peaceful revolution is impossible, and “if no action is taken, action of another kind will be taken for us. . . . The continuance of uncertainty will mean that the disillusioned will drift steadily across to a Fascist organization. Fascism means war; the character of a Fascist State is fairly well known. Once it is established, those who read, who write, who publish or who print, books like this are likely to be dead or in concentration camps.” Originally published in 1934, Postgate’s book was heralded for its clarity and scholarship.
Winner, Massachusetts Book Award
A Book of the Year pick from Kirkus, BuzzFeed, and Literary Hub
“The essays in this collection are restless, brilliant and short.…The brevity suits not just Walker’s style but his worldview, too.…Keeping things quick gives him the freedom to move; he can alight on a truth without pinning it into place.” —Jennifer Szalai, the New York Times
For the black community, Jerald Walker asserts in How to Make a Slave, “anger is often a prelude to a joke, as there is broad understanding that the triumph over this destructive emotion lay in finding its punchline.” It is on the knife’s edge between fury and farce that the essays in this exquisite collection balance. Whether confronting the medical profession’s racial biases, considering the complicated legacy of Michael Jackson, paying homage to his writing mentor James Alan McPherson, or attempting to break free of personal and societal stereotypes, Walker elegantly blends personal revelation and cultural critique. The result is a bracing and often humorous examination by one of America’s most acclaimed essayists of what it is to grow, parent, write, and exist as a black American male. Walker refuses to lull his readers; instead his missives urge them to do better as they consider, through his eyes, how to be a good citizen, how to be a good father, how to live, and how to love.
In this innovative hybrid of biography, memoir, and criticism, Eric G. Wilson describes how John Keats gave him solace during a bout of mental illness in spring 2012. While on a tour of the principal sites in Keats’s life—ranging from his London medical school to the small room in Rome where he died—Wilson discovered analogies between the poet’s troubles and his own. He was most struck by Keats’s enlivening vision of the soul.
For Keats, we don’t possess but rather make a soul. We do this by imaginatively transforming our suffering into empathy toward humans and nature alike. Tracking this idea in Keats’s tumultuous yet exhilarating life and work, Wilson struggles to envision his depression anew, desperate to overcome the apathy alienating him from his family.
How to Make a Soul offers fresh perspectives on Keats’s pragmatism, irony, comedy, ethics, and aesthetics, but is above all a lyrical celebration of those galvanizing instances when life springs into art.
As the COVID-19 pandemic has affected every corner of the world, changing our relationship to our communities, to our jobs, and to each other, the most pressing question has been—when will it end? Researchers around the globe are urgently trying to answer this question by racing to test and distribute a vaccine that could end the greatest public health threat of our time. In How to Make a Vaccine, an expert who has firsthand experience developing vaccines tells an optimistic story of how three hundred years of vaccine discovery and a century and a half of immunology research have come together at this powerful moment—and will lead to multiple COVID-19 vaccines.
Dr. John Rhodes draws on his experience as an immunologist, including working alongside a young Anthony Fauci, to unravel the mystery of how vaccines are designed, tested, and produced at scale for global deployment. Concise and accessible, this book describes in everyday language how the immune system evolved to combat infection, how viruses responded by evolving ways to evade our defenses, and how vaccines do their work. That history, and the pace of current research developments, make Rhodes hopeful that multiple vaccines will protect us. Today the complex workings of the immune system are well understood. The tools needed by biomedical scientists stand ready to be used, and more than 160 vaccine candidates have already been produced. But defeating COVID-19 won’t be the end of the story: Rhodes describes how discoveries today are also empowering scientists to combat future threats to global health, including a recent breakthrough in the development of genetic vaccines, which have never before been used in humans.
As the world prepares for a vaccine, Rhodes offers a current and informative look at the science and strategies that deliver solutions to the crisis.
“We need a new poetry lexicon—a new way of moleculing the poem on the page, even—and Maya Salameh brings it. We need all the strange Arabic-diasporic ways we can find for being in this terrible and joyful and often frighteningly banalizing world, and Salameh’s poems are a generous find. Her writing is an unexpected cousin in the colonized and capitalism-razed city, bewildering and divining things you’ve never heard but want to learn. . . . Prepare to be stretched and delighted.”
—Mohja Kahf, from the Foreword
The divine and the digital achieve a distinct corporality in Maya Salameh’s HOW TO MAKE AN ALGORITHM IN THE MICROWAVE, winner of the 2022 Etel Adnan Poetry Prize. Layering prayer with code, Salameh brings supposedly unassailable technological constructs like algorithm, recursion, and loop into conversation with the technologies of womanhood, whether liner, lipstick, or blood. Exploring the relationships we have with our devices, she speaks back to the algorithm (“a computer’s admission to blood”), which acts simultaneously as warden, confidant, and data thief.
Here Salameh boldly examines how an Arab woman survives the digitization of her body—experimenting with form to create an intimate collage of personal and neocolonial histories, fearlessly insinuating herself into the scripts that would otherwise erase her, and giving voice to the full mess of ritual.
David Gere, who came of age as a dance critic at the height of the AIDS epidemic, offers the first book to examine in depth the interplay of AIDS and choreography in the United States, specifically in relation to gay men. The time he writes about is one of extremes. A life-threatening medical syndrome is spreading, its transmission linked to sex. Blame is settling on gay men. What is possible in such a highly charged moment, when art and politics coincide?
Gere expands the definition of choreography to analyze not only theatrical dances but also the protests conceived by ACT-UP and the NAMES Project AIDS quilt. These exist on a continuum in which dance, protest, and wrenching emotional expression have become essentially indistinguishable. Gere offers a portrait of gay male choreographers struggling to cope with AIDS and its meanings.
Beginning in the fifteenth century with Christine de Pizan, Alison Booth traces the long tradition of this genre, investigating the varied types and stories most often grouped together in illustrated books designed for entertainment and instruction. She claims that these group biographies have been instrumental in constructing modern subjectivities as well as relations among classes, races, and nations.
From Joan of Arc to Virginia Woolf, Booth examines a host of models of womanhood—both bad and good. Incorporating a bibliography that includes more than 900 all-female collections published in English between 1830 and 1940, Booth uses collective biographies to decode the varied advice on how to make it as a woman.
In the eleven linked short stories of How to Make Your Mother Cry, Sejal Shah builds a shrine gleaming with memory and myth. Keys, rocks, photographs, fairy tales, fables, and relics all add texture and meaning to an exploration of growing up and living as a diasporic Gujarati woman in a culture that excuses the behavior of men. Throughout, girls and women contend with the expectations, limitations, and challenges of becoming the heroine of one’s own life.
How to Make Your Mother Cry—Shah’s follow-up to her award-winning essay collection This Is One Way to Dance—continues the rich tradition of innovative feminist work by Claudia Rankine, Leslie Marmon Silko, and Maxine Hong Kingston. By braiding stories and images with fictional letters to a beloved English teacher, the collection defies traditional autofiction, epistolary, and short story conventions. These astonishing stories about friendship and love, resilience and survival establish Shah as an exciting new voice in contemporary fiction.
How to Name a Hurricane collects short stories and other fictions depicting Latino drag queens and leather men, religious sinners and happy atheists, working class heroes and cyberspace vaqueros—a parade of characters that invites readers to consider whether one is more authentic a gay Latino than another. Whereas actual hurricanes are given names, the gays given voice in this collection must name themselves—and these narratives in turn reveal something of the "I" of Hurricane Rane. Whether portraying a family gathering as Brideshead Revisited with a mambo soundtrack, recounting the relationship of transvestite Louie/Lois and her bisexual Superman, or bemoaning "feeling as unsexy as an old bean burrito in a 7-11 microwave," Arroyo tracks the heartbeat of his characters through a shimmering palette of styles. Here are monologues, a story in verse, and other experimental forms appropriate to experimental lives—all affirming the basic human rights to dignity, equality, love, and even silliness.
When the AIDS epidemic first hit, many Latino families destroyed any remembrances of their gay and bisexual sons that might betray their pasts to la familia or el pueblo. Arroyo’s writings return the ghosts of those sons to the families, bars, dance clubs, and neighborhoods where they belong. By penetrating to the I’s of narrative hurricanes, these stories honor the survivors of our ongoing cultural storms.
Delving far deeper than mere intellect, however, Borislav Pekic was himself a frequent political agitator and occasional prisoner, and he drew on his first hand knowledge of police methods and life under totalitarianism to paint a chilling portrait of a supposedly free-thinking intellectual acting in the service of repression. At the same time he questions whether Rutkowski's ideology puts him outside the philosophical tradition he so admires—or if the line separating European thought from totalitarianism is not as clear as we like to think.
“Time is a thing that grows scarcer every day,” observes one of Don DeLillo’s characters. “The future is gone,” The Baffler argues. “Where’s my hoverboard!?” a meme demands. Contemporary capitalism, a system that insists that everything happen at once, creates problems for social thought and narrative alike. After all, how does one tell the time of instantaneity? In this moment of on-demand service and instant trading, it has become difficult to imagine the future.
The novel emerged as the art form of a rapidly changing modern world, a way of telling time in its progress. Nilges argues that this historical mission is renewed today through works that understand contemporaneity as a form of time shaping that props up our material world and cultural imagination. But the contemporary American novel does not simply associate our present with a crisis of futurity. Through analyses of works by authors such as DeLillo, Jennifer Egan, Charles Yu, and Colson Whitehead, Nilges illustrates that the novel presents ways to make sense of the temporality that controls our purportedly fully contemporary world. In so doing, the novel recovers a sense of possibility and hope, forwarding a dazzling argument for its own importance today.
Using dozens of examples, including a North American slam poet, a Tibetan paper-singer, a South African praise-poet, and an ancient Greek bard, John Miles Foley shows that although oral poetry long predates the invention of writing, it continues to be a vital culture-making and communications tool in societies all over the world. Based on fieldwork and archival research on epics, folktales, lyrics, laments, charms, and other oral traditions, How to Read an Oral Poem answers the questions, What is oral poetry? How does it work? What is reading, literally and figuratively?
This accessible and engaging work is enhanced by audio and video examples of oral poetry, which are available at http://www.oraltradition.org. The book can also be used as companion volume to Foley's Teaching Oral Traditions.
First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.
Written and published during the blossoming of Salvador Allende's revolutionary socialism in Chile, the book examines how Disney products reflect capitalist ideology, and are active agents working in this ideology’s favor. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalized and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World.
A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman in which he writes.
"It is that joy in liberation, that alegria, that spirit of resistance, that I wish to share with America, as the book that Pinochet’s soldiers could not liquidate or Disney’s lawyers stop from entering the United States finally finds its way to its new home, deep into the land that invented Donald Duck and Donald Trump. Is the same country that gave me such a warm welcome as a child, and perhaps may now equally greet with open arms this critique of oppression and it certainty that we don’t have to leave the world as it was when we first encountered it."
Michel Foucault’s Discipline and Punish is one of the best-selling works of critical theory and a key text on many undergraduate courses. However, it is a long, difficult text which makes Anne Schwan and Stephen Shapiro's excellent step-by-step reading guide a welcome addition to the How to Read Theory series.
Undergraduates across a wide range of disciplines are expected to have a solid understanding of Foucault's key terms, which have become commonplace in critical thinking today. While there are many texts that survey Foucault's thought, these are often more general overviews or biographical précis that give little in the way of robust explanation and discussion. In contrast, Schwan and Shapiro take a plain-speaking, yet detailed, approach, specifically designed to give students a thorough understanding of one of the most influential texts in contemporary cultural theory.
Students are urged to think for themselves and engage with Marx's powerful methods of argument and explanation. Shapiro shows that Capital is key to understanding critical theory and cultural production.
This highly focused book will prove invaluable to students of politics, cultural studies, and literary theory.
In How to Respond Better to the Next Pandemic Allen Buchanan argues that, contrary to widespread opinion, the primary cause of flawed COVID-19 policy was not defective leadership, but rather institutional failure. Decisions were made through processes that lacked the most basic safeguards against the large-institution “yes-man” and group-think phenomena and included virtually no provisions for holding decision makers accountable. More fundamentally, policy makers did not fulfill the crucial duty to provide plausible public justifications for their decisions. They disguised the fact that scientific opinion was divided on the appropriateness of the policies they endorsed and labeled those who disagreed with them as anti-scientific. In some cases, they responded to criticism, not by engaging it on the issues, but by branding their critics as quacks.
How to Revise a True War Story is the first book-length study of O’Brien’s archival papers at the University of Texas’s Harry Ransom Center. Drawing on extensive study of drafts and other prepublication materials, as well as the multiple published versions of O’Brien’s works, John K. Young tells the untold stories behind the production of such key texts as Going After Cacciato, The Things They Carried, and In the Lake of the Woods. By reading not just the texts that have been published, but also the versions they could have been, Young demonstrates the important choices O’Brien and his editors have made about how to represent the traumas of the war in Viet Nam. The result is a series of texts that refuse to settle into a finished or stable form, just as the stories they present insist on being told and retold in new and changing ways. In their lack of textual stability, these variants across different versions enact for O’Brien’s readers the kinds of narrative volatility that is key to the American literature emerging from the war in Viet Nam. Perhaps in this case, you can tell a true war story if you just keep on revising it.
How to Save a Constitutional Democracy mounts an urgent argument that we can no longer afford to be complacent. Drawing on a rich array of other countries’ experiences with democratic backsliding, Tom Ginsburg and Aziz Z. Huq show how constitutional rules can both hinder and hasten the decline of democratic institutions. The checks and balances of the federal government, a robust civil society and media, and individual rights—such as those enshrined in the First Amendment—often fail as bulwarks against democratic decline. The sobering reality for the United States, Ginsburg and Huq contend, is that the Constitution’s design makes democratic erosion more, not less, likely. Its structural rigidity has had unforeseen consequence—leaving the presidency weakly regulated and empowering the Supreme Court conjure up doctrines that ultimately facilitate rather than inhibit rights violations. Even the bright spots in the Constitution—the First Amendment, for example—may have perverse consequences in the hands of a deft communicator who can degrade the public sphere by wielding hateful language banned in many other democracies. We—and the rest of the world—can do better. The authors conclude by laying out practical steps for how laws and constitutional design can play a more positive role in managing the risk of democratic decline.
How to Save a River presents in a concise and readable format the wisdom gained from years of river protection campaigns across the United States. The book begins by defining general principles of action, including getting organized, planning a campaign, building public support, and putting a plan into action. It then provides detailed explanations of how to:
- form an organization and raise money
- develop coalitions with other groups
- plan a campaign and build public support
- cultivate the media and other powerful allies
- develop credible alternatives to damaging projects
“Soar’s book [The Crooked Stick] is indispensible.”—Bernard Cornwell, New York Times bestselling author
Relying on more than fifty years’ experience in archery, historian Hugh D. H. Soar reflects on how the longbow was drawn and shot across the centuries through examining the design of the bow and early literature about the bow, combined with his and his colleagues’ applied knowledge using replica bows. No complete medieval longbow has survived, but those found aboard the Tudor warship Mary Rose provide the best archaeological evidence to the possible construction of the medieval bow. Contemporary treatises written about the proper manner of shooting the bow, together with the resurgence in interest and construction of replica bows beginning in the late sixteenth century that form part of the author’s collection provide the basis for this work. How to Shoot the Longbow: A Guide from Historical and Applied Sources is a fascinating and practical look at the use of a legendary invention.
In crisp and spirited prose, Goldhill explains how Aeschylus, Euripides, and Sophocles conceived their works in performance and then summarizes everything we know about how their tragedies were actually staged. The heart of his book tackles the six major problems facing any company performing these works today: the staging space and concept of the play; the use of the chorus; the actor’s role in an unfamiliar style of performance; the place of politics in tragedy; the question of translation; and the treatment of gods, monsters, and other strange characters of the ancient world. Outlining exactly what makes each of these issues such a pressing difficulty for modern companies, Goldhill provides insightful solutions drawn from his nimble analyses of some of the best recent productions in the United States, Britain, and Continental Europe.
One of the few experts on both Greek tragedy and contemporary performance, Goldhill uses his unique background and prodigious literary skill to illuminate brilliantly what makes tragedy at once so exciting and so tricky to get right. The result will inspire and enlighten all directors and performers—not to mention the growing audiences—of ancient Greek theater.
While numerous studies over the years have focused on the ways in which art functions in our society, How to Study Art Worlds is the first to examine it in light of the organizational aspects of the art world. Van Maanen delves into the works of such sociologists as Howard S. Becker, Pierre Bourdieu, George Dickie, and Niklas Luhmann, among others, to examine the philosophical debates surrounding aesthetic experience—and then traces the consequences that each of these approaches has had and continues to have on organizations in the art world.
Jan Gehl has been examining this question since the 1960s, when few urban designers or planners were thinking about designing cities for people. But given the unpredictable, complex and ephemeral nature of life in cities, how can we best design public infrastructure—vital to cities for getting from place to place, or staying in place—for human use? Studying city life and understanding the factors that encourage or discourage use is the key to designing inviting public space.
In How to Study Public Life Jan Gehl and Birgitte Svarre draw from their combined experience of over 50 years to provide a history of public-life study as well as methods and tools necessary to recapture city life as an important planning dimension.
This type of systematic study began in earnest in the 1960s, when several researchers and journalists on different continents criticized urban planning for having forgotten life in the city. City life studies provide knowledge about human behavior in the built environment in an attempt to put it on an equal footing with knowledge about urban elements such as buildings and transport systems. Studies can be used as input in the decision-making process, as part of overall planning, or in designing individual projects such as streets, squares or parks. The original goal is still the goal today: to recapture city life as an important planning dimension. Anyone interested in improving city life will find inspiration, tools, and examples in this invaluable guide.
*Mastering rather than just memorizing material
*Learning the secrets of mental preparation before tackling difficult assignments or exams
*Strengthening skills for better reading, note taking, and listening
*Improving use of time in the classroom, the library, and at home
It offers a wealth of advice, from the commonsensical ("Never begin study immediately after eating" and "Check every tendency to daydream") to the more psychological ("Use your knowledge by thinking, talking, and writing about the things you are learning").
Thoroughly revised and updated, this powerful little book can help any motivated and capable student work smarter, not just harder, from high school through college.
When he wrote How to Study Arthur W. Kornhauser (1896-1990) was associate professor of business psychology at the University of Chicago.
After years of preparation and anticipation, many students arrive at college without any real knowledge of the ins and outs of college life. They’ve been focused on finding the right school and have been carefully guided through the nuances of the admissions process, but too often they have little knowledge about how college will be different from high school or what will be expected of them during that crucial first year and beyond. Written by an award-winning teacher, How to Succeed in College (While Really Trying) provides much-needed help to students, offering practical tips and specific study strategies that will equip them to excel in their new environment.
Drawing on years of experience teaching at a variety of campuses, from large research universities to small liberal arts colleges, Jon B. Gould gives readers the lay of the land and demystifies the college experience. In the course of the book, students will learn how to identify the best instructors, how to choose classes and settle on a major, how to develop effective strategies for reading and note taking, and how to write good papers and successfully complete exams.
Because much of the college experience takes place outside of the classroom, Gould also advises students on how to effectively manage their cocurricular activities, work obligations, and free time, as well as how to take advantage of the typically untapped resources on every campus. With candid advice and insights from a seasoned insider, this guide will leave students better prepared not only to succeed in college but to enjoy it as well.
Are women able to achieve anything they set their minds to? In How to Suppress Women’s Writing, award-winning novelist and scholar Joanna Russ lays bare the subtle—and not so subtle—strategies that society uses to ignore, condemn, or belittle women who produce literature. As relevant today as when it was first published in 1983, this book has motivated generations of readers with its powerful feminist critique.
“What is it going to take to break apart these rigidities? Russ’s book is a formidable attempt. It is angry without being self-righteous, it is thorough without being exhausting, and it is serious without being devoid of a sense of humor. But it was published over thirty years ago, in 1983, and there’s not an enormous difference between the world she describes and the world we inhabit.”
—Jessa Crispin, from the foreword
“A book of the most profound and original clarity. Like all clear-sighted people who look and see what has been much mystified and much lied about, Russ is quite excitingly subversive. The study of literature should never be the same again.”
—Marge Piercy
“Joanna Russ is a brilliant writer, a writer of real moral passion and high wit.”
—Adrienne Rich
Most accounts of the natural evolution of wolves place it over a span of about 15,000 years, but within a decade, Belyaev and Trut’s fox breeding experiments had resulted in puppy-like foxes with floppy ears, piebald spots, and curly tails. Along with these physical changes came genetic and behavioral changes, as well. The foxes were bred using selection criteria for tameness, and with each generation, they became increasingly interested in human companionship. Trut has been there the whole time, and has been the lead scientist on this work since Belyaev’s death in 1985, and with Lee Dugatkin, biologist and science writer, she tells the story of the adventure, science, politics, and love behind it all. In How to Tame a Fox, Dugatkin and Trut take us inside this path-breaking experiment in the midst of the brutal winters of Siberia to reveal how scientific history is made and continues to be made today.
To date, fifty-six generations of foxes have been domesticated, and we continue to learn significant lessons from them about the genetic and behavioral evolution of domesticated animals. How to Tame a Fox offers an incredible tale of scientists at work, while also celebrating the deep attachments that have brought humans and animals together throughout time.
How should art be taught? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process? In other words, how can a non-artist become an artist? Such programmatic questions articulated by acclaimed Polish artist Artur Żmijewski were at the heart of the workshop “How to Teach Art?” Żmijewski invited a group of graduate and doctoral students from three Zurich universities—the Swiss Federal Institute of Technology, the University of Zurich, and the Zurich University of the Arts—to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises induced by Żmijewski himself.
This book retraces the workshop and its process by showing inconclusive, fragmentary results between theory and practice. How to Teach Art? presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, “How to teach art?”
It is common wisdom that the U.S. economy has adapted to losses in its manufacturing base because of the booming information sector, with high-paying jobs for everything from wireless networks to video games. We are told we live in the Information Age, in which communications networks and media and information services drive the larger economy. While the Information Age may have looked sunny in the beginning, as it has developed it looks increasingly ominous: its economy and benefits grow more and more centralized--and in the United States, it has become less and less subject to democratic oversight.
Corporations around the world have identified the value of information and are now seeking to control its production, transmission, and consumption. In How to Think about Information, Dan Schiller explores the ways information has been increasingly commodified as a result and how it both resembles and differs from other commodities. Through a linked series of theoretical, historical, and contemporary studies, Schiller reveals this commodification as both dynamic and expansionary, but also deeply conflicted and uncertain. He examines the transformative political and economic changes occurring throughout the informational realm and analyzes key dimensions of the process, including the buildup of new technological platforms, the growth of a transnationalizing culture industry, and the role played by China as it reinserts itself into an informationalized capitalism.
From precognitive dreams and telepathic visions to near-death experiences, UFO encounters, and beyond, so-called impossible phenomena are not supposed to happen. But they do happen—all the time. Jeffrey J. Kripal asserts that the impossible is a function not of reality but of our everchanging assumptions about what is real. How to Think Impossibly invites us to think about these fantastic (yet commonplace) experiences as an essential part of being human, expressive of a deeply shared reality that is neither mental nor material but gives rise to both. Thinking with specific individuals and their extraordinary experiences in vulnerable, open, and often humorous ways, Kripal interweaves humanistic and scientific inquiry to foster an awareness that the fantastic is real, the supernatural is super natural, and the impossible is possible.
By now, it should be clear: in the face of disinformation and disaster, we cannot hot take, life hack, or meme our way to a better future. But how should we respond instead? In How to Think like a Philosopher, Julian Baggini turns to the study of reason itself for practical solutions to this question, inspired by our most eminent philosophers, past and present.
Baggini offers twelve key principles for a more humane, balanced, and rational approach to thinking: pay attention; question everything (including your questions); watch your steps; follow the facts; watch your language; be eclectic; be a psychologist; know what matters; lose your ego; think for yourself, not by yourself; only connect; and don’t give up. Each chapter is chockful of real-world examples showing these principles at work—from the discovery of penicillin to the fight for trans rights—and how they lead to more thoughtful conclusions. More than a book of tips and tricks (or ways to be insufferably clever at parties), How to Think like a Philosopher is an invitation to develop the habits of good reasoning that our world desperately needs.
In 1989 Michael Bishop and Harold Varmus were awarded the Nobel Prize for their discovery that normal genes under certain conditions can cause cancer. In this book, Bishop tells us how he and Varmus made their momentous discovery. More than a lively account of the making of a brilliant scientist, How to Win the Nobel Prize is also a broader narrative combining two major and intertwined strands of medical history: the long and ongoing struggles to control infectious diseases and to find and attack the causes of cancer.
Alongside his own story, that of a youthful humanist evolving into an ambivalent medical student, an accidental microbiologist, and finally a world-class researcher, Bishop gives us a fast-paced and engrossing tale of the microbe hunters. It is a narrative enlivened by vivid anecdotes about our deadliest microbial enemies--the Black Death, cholera, syphilis, tuberculosis, malaria, smallpox, HIV--and by biographical sketches of the scientists who led the fight against these scourges.
Bishop then provides an introduction for nonscientists to the molecular underpinnings of cancer and concludes with an analysis of many of today's most important science-related controversies--ranging from stem cell research to the attack on evolution to scientific misconduct. How to Win the Nobel Prize affords us the pleasure of hearing about science from a brilliant practitioner who is a humanist at heart. Bishop's perspective will be valued by anyone interested in biomedical research and in the past, present, and future of the battle against cancer.
The book addresses every step in navigating the perilous territory of love, from instructions on writing love letters to the rules of public displays of affection to gracefully dealing with rejection. Also included are the most important characteristics to keep in mind when choosing The One, such as age, health, fortune, morals, and social position. On marriage, Collingridge wisely advises: “Both men and women vary greatly as to the age at which they arrive at maturity; marriage should never be undertaken before that age, and generally never after.” Even so, Collingridge lauds marriage as an institution of virtues, noting how young men’s “intellects become sharpened, their morals improved, and their energy, by certain necessity, enlarged.” (He does not, interestingly enough, note what marriage does for women.) Passages of verse by such famed literary figures as Shakespeare, Boswell, Dr. Johnson, and Lady Mary Wortley Montagu accompany the sensible advice, providing an array of poetic passages that capture the tumultuous and timeless emotions of love and rejection.
Even though today’s social scene is more analogous to Sex and the City than Emma, much of the counsel in How to Woo is surprisingly applicable to contemporary daters. An invaluable resource for both lovers and the lovelorn, How to Woo is a delightful handbook on the age-old art of courting.
This book offers step-by-step advice on how to turn a vague idea into a clearly defined proposal, then a draft paper, and, ultimately, a polished thesis. Lipson also tackles issues beyond the classroom-from good work habits to coping with personal problems that interfere with research and writing.
Filled with examples and easy-to-use highlighted tips, the book also includes handy time schedules that show when to begin various tasks and how much time to spend on each. Convenient checklists remind students which steps need special attention, and a detailed appendix, filled with examples, shows how to use the three main citation systems in the humanities and social sciences: MLA, APA, and Chicago.
How to Write a BA Thesis will help students work more comfortably and effectively-on their own and with their advisers. Its clear guidelines and sensible advice make it the perfect text for thesis workshops. Students and their advisers will refer again and again to this invaluable resource. From choosing a topic to preparing the final paper, How to Write a BA Thesis helps students turn a daunting prospect into a remarkable achievement.
Trees have been essential to the success of human beings, providing food, shelter, warmth, transportation, and products (consider the paper you are holding). Trees are also necessary for a healthy atmosphere, literally connecting the earth with the sky. Once in wild abundance— the entire eastern North America was a gigantic forest—they have receded as we have clearcut the landscape in favor of building cities and farms, using up and abusing our forests in the process. Over the centuries, we have trained food trees, such as peach and apple trees, to produce more and better fruit at the expense of their lives. As Jeff Gillman, a specialist in the production and care of trees, explains in his acclaimed work, How Trees Die: The Past, Present, and Future of Our Forests, the death of a tree is as important to understanding our environment as how it lives. While not as readily apparent as other forms of domestication, our ancient and intimate relationship with trees has caused their lives to be inseparably entwined with ours. The environment we have created—what we put into the air and into the water, and how we change the land through farming, construction, irrigation, and highways—affects the world’s entire population of trees, while the lives of the trees under our direct care in farms, orchards, or along a city boulevard depend almost entirely on our actions. Taking the reader on a fascinating journey through time and place, the author explains how we kill trees, often for profit, but also unintentionally with kindness through overwatering or overmulching, and sometimes simply by our movements around the globe, carrying foreign insects or disease. No matter how a tree’s life ends, though, understanding the reason is essential to understanding the future of our environment.
In How We Became Our Data, Colin Koopman excavates early moments of our rapidly accelerating data-tracking technologies and their consequences for how we think of and express our selfhood today. Koopman explores the emergence of mass-scale record keeping systems like birth certificates and social security numbers, as well as new data techniques for categorizing personality traits, measuring intelligence, and even racializing subjects. This all culminates in what Koopman calls the “informational person” and the “informational power” we are now subject to. The recent explosion of digital technologies that are turning us into a series of algorithmic data points is shown to have a deeper and more turbulent past than we commonly think. Blending philosophy, history, political theory, and media theory in conversation with thinkers like Michel Foucault, Jürgen Habermas, and Friedrich Kittler, Koopman presents an illuminating perspective on how we have come to think of our personhood—and how we can resist its erosion.
Hayles relates three interwoven stories: how information lost its body, that is, how it came to be conceptualized as an entity separate from the material forms that carry it; the cultural and technological construction of the cyborg; and the dismantling of the liberal humanist "subject" in cybernetic discourse, along with the emergence of the "posthuman."
Ranging widely across the history of technology, cultural studies, and literary criticism, Hayles shows what had to be erased, forgotten, and elided to conceive of information as a disembodied entity. Thus she moves from the post-World War II Macy Conferences on cybernetics to the 1952 novel Limbo by cybernetics aficionado Bernard Wolfe; from the concept of self-making to Philip K. Dick's literary explorations of hallucination and reality; and from artificial life to postmodern novels exploring the implications of seeing humans as cybernetic systems.
Although becoming posthuman can be nightmarish, Hayles shows how it can also be liberating. From the birth of cybernetics to artificial life, How We Became Posthuman provides an indispensable account of how we arrived in our virtual age, and of where we might go from here.
An engrossing history of the century that transformed our knowledge of the body’s inner senses
The years between 1833 and 1945 fundamentally transformed science’s understanding of the body’s inner senses, revolutionizing fields like philosophy, the social sciences, and cognitive science. In How We Became Sensorimotor, Mark Paterson provides a systematic account of this transformative period, while also demonstrating its substantial implications for current explorations into phenomenology, embodied consciousness, the extended mind, and theories of the sensorimotor, the body, and embodiment.
Each chapter of How We Became Sensorimotor takes a particular sense and historicizes its formation by means of recent scientific studies, case studies, or coverage in the media. Ranging among a diverse array of sensations, including balance, fatigue, pain, the “muscle sense,” and what Maurice Merleau-Ponty termed “motricity,” Paterson’s analysis moves outward from the familiar confines of the laboratory to those of the industrial world and even to wild animals and their habitats. He uncovers important stories, such as how forgotten pain-measurement schemes transformed criminology, or how Penfield’s outmoded concepts of the sensory and motor homunculi of the brain still mar psychology textbooks.
Complete with original archival research featuring illustrations and correspondence, How We Became Sensorimotor shows how the shifting and sometimes contested historical background to our understandings of the senses are being extended even today.
In this book, Diego Zancani maps the extraordinary progress of Italian food, from the legacy of the Roman invasion to its current, ever-increasing popularity. Starting with medieval manuscripts, he traces Italian recipes in Britain back to the thirteenth century, and draws on later travel diaries to explore British and American encounters with Italian food abroad. The book also shows how Italian immigrants, from ice-cream sellers and grocers to chefs and restauranteurs, had a transformative influence on the spread of the cuisine, championing Italian food at pivotal moments throughout history.
Lavishly illustrated with material from the archives of the Bodleian Library and elsewhere, this sumptuous book also includes Italian regional recipes that have come down to us through the centuries, and celebrates the enduring international appeal of delicatessens, pizzerias, trattorias, and the Mediterranean diet.
How We Learn Where We Live opens new avenues into thinking about one of the most provocative writers of the twentieth century, Thomas Bernhard. In one of the first English studies of his work, Fatima Naqvi focuses on the Austrian author’s critique of education (Bildung) through the edifices in which it takes place. She demonstrates that both literature and architecture are implicated in the concept of Bildung. His writings insist that learning has always been a life-long process that is helped—or hindered—by the particular buildings in which Bildung occurs. Naqvi offers close readings of Bernhard’s major prose works, from Amras (1964) to Old Masters (1985) and brings them into dialogue with major architectural debates of the times. She examines Bernard’s interrogation of the theoretical foundations underpinning the educational system and its actual sites.
Victor Fuchs, author of Who Shall Live?, cuts through the hand wringing and the “pop” panaceas for America's current social crises in a brilliant analysis of the way we live. The facts are familiar. A doubled rate of divorce. A birth rate cut nearly in half while the percentage of illegitimate births nearly tripled. The young face dismal job prospects, and many of the old are totally dependent on the federal government.
Fuchs's economic approach shows us that the societal upheaval of American life is not created by fiat but rather emerges as millions of men and women make seemingly small choices that are constrained by their circumstances: “Should I go back to school?” “How many children should we have?” “When should I retire?” In a masterly synthesis, he shows the interrelatedness of our choices regarding family, work, health, and education throughout the life cycle. He uses the latest facts of American life to explore three major themes—the fading family, the impact of simple demographics on individual destiny, and the effect of weighing present and future costs and benefits on individual choice.
Fuchs concludes by offering innovative solutions to many contemporary problems: social security, health insurance, child care, youth unemployment, and illegitimate births. Moving beyond the outworn orthodoxies of liberalism and conservatism, he offers a clearer view of our circumstances so that readers from all walks of life can make better private choices, and contribute to more effective public policies.
Gazing up at the heavens from our backyards or a nearby field, most of us see an undifferentiated mess of stars—if, that is, we can see anything at all through the glow of light pollution. Today’s casual observer knows far less about the sky than did our ancestors, who depended on the sun and the moon to tell them the time and on the stars to guide them through the seas. Nowadays, we don’t need the sky, which is good, because we’ve made it far less accessible, hiding it behind the skyscrapers and the excessive artificial light of our cities.
How We See the Sky gives us back our knowledge of the sky, offering a fascinating overview of what can be seen there without the aid of a telescope. Thomas Hockey begins by scanning the horizon, explaining how the visible universe rotates through this horizon as night turns to day and season to season. Subsequent chapters explore the sun’s and moon’s respective motions through the celestial globe, as well as the appearance of solstices, eclipses, and planets, and how these are accounted for in different kinds of calendars. In every chapter, Hockey introduces the common vocabulary of today’s astronomers, uses examples past and present to explain them, and provides conceptual tools to help newcomers understand the topics he discusses.
Packed with illustrations and enlivened by historical anecdotes and literary references, How We See the Sky reacquaints us with the wonders to be found in our own backyards.
A former Wisconsin high school science teacher makes the case that how and why we teach science matters, especially now that its legitimacy is under attack.
Why teach science? The answer to that question will determine how it is taught. Yet despite the enduring belief in this country that science should be taught, there has been no enduring consensus about how or why.
This is especially true when it comes to teaching scientific process. Nearly all of the basic knowledge we have about the world is rock solid. The science we teach in high schools in particular—laws of motion, the structure of the atom, cell division, DNA replication, the universal speed limit of light—is accepted as the way nature works. Everyone also agrees that students and the public more generally should understand the methods used to gain this knowledge. But what exactly is the scientific method?
Ever since the late 1800s, scientists and science educators have grappled with that question. Through the years, they’ve advanced an assortment of strategies, ranging from “the laboratory method” to the “five-step method” to “science as inquiry” to no method at all. How We Teach Science reveals that each strategy was influenced by the intellectual, cultural, and political circumstances of the time. In some eras, learning about experimentation and scientific inquiry was seen to contribute to an individual’s intellectual and moral improvement, while in others it was viewed as a way to minimize public interference in institutional science.
John Rudolph shows that how we think about and teach science will either sustain or thwart future innovation, and ultimately determine how science is perceived and received by the public.
“How do we think?” N. Katherine Hayles poses this question at the beginning of this bracing exploration of the idea that we think through, with, and alongside media. As the age of print passes and new technologies appear every day, this proposition has become far more complicated, particularly for the traditionally print-based disciplines in the humanities and qualitative social sciences. With a rift growing between digital scholarship and its print-based counterpart, Hayles argues for contemporary technogenesis—the belief that humans and technics are coevolving—and advocates for what she calls comparative media studies, a new approach to locating digital work within print traditions and vice versa.
The idea of voting is simple, but the administration of elections in ways that ensure access and integrity is complex.
In How We Vote, Kathleen Hale and Mitchell Brown explore what is at the heart of our democracy: how elections are run. Election administration determines how ballots are cast and counted, and how jurisdictions try to innovate while also protecting the security of the voting process, as well as how election officials work.
Election officials must work in a difficult intergovernmental environment of constant change and intense partisanship. Voting practices and funding vary from state to state, and multiple government agencies, the judicial system, voting equipment vendors, nonprofit groups, and citizen activists also influence practices and limit change. Despite real challenges and pessimistic media assessments, Hale and Brown demonstrate that election officials are largely successful in their work to facilitate, protect, and evolve the voting process.
Using original data gathered from state and local election officials and policymakers across the United States, Hale and Brown analyze innovations in voter registration, voting options, voter convenience, support for voting in languages other than English, the integrity of the voting process, and voting system technology. The result is a fascinating picture of how we vote now and will vote in the future.
Top 100 Books on Science, American Scientist, 2001
In 1992, the University of Texas Press published Before Writing, Volume I: From Counting to Cuneiform and Before Writing, Volume II: A Catalog of Near Eastern Tokens. In these two volumes, Denise Schmandt-Besserat set forth her groundbreaking theory that the cuneiform script invented in the Near East in the late fourth millennium B.C.—the world's oldest known system of writing—derived from an archaic counting device.
How Writing Came About draws material from both volumes to present Schmandt-Besserat's theory for a wide public and classroom audience. Based on the analysis and interpretation of a selection of 8,000 tokens or counters from 116 sites in Iran, Iraq, the Levant, and Turkey, it documents the immediate precursor of the cuneiform script.
Tulley illuminates a long-unstudied corner of the discipline: the writing habits of theorists, researchers, and teachers of writing. Her interviewees speak candidly about overcoming difficulties in their writing processes on a daily basis, using strategies for getting started and restarted, avoiding writer’s block, finding and using small moments of time, and connecting their writing processes to their teaching. How Writing Faculty Write will be of significant interest to students and scholars across the spectrum—graduate students entering the discipline, new faculty and novice scholars thinking about their writing lives, mid-level and senior faculty curious about how scholars research and write, historians of rhetoric and composition, and metadisciplinary scholars.
Centering around the life and times of the revered American sportswriter Grantland Rice (1880-1954), How You Played the Game takes us back to those magical days of sporting tales and mythic heroes. Through Rice's eyes we behold such sports as bicycle racing, boxing, golf, baseball, football, and tennis as they were played before 1950. We witness ups and downs in the careers of such legendary figures as Christy Mathewson, Jack Dempsey, Ty Cobb, Babe Ruth, Jim Thorpe, Red Grange, Bobby Jones, Bill Tilden, Notre Dame's Four Horsemen, Gene Tunney, and Babe Didrikson--all of whom Rice helped become household names.
Grantland Rice was a remarkably gifted and honorable sportswriter. From his early days in Nashville and Atlanta, to his famed years in New York, Rice was acknowledged by all for his uncanny grasp of the ins and outs of a dozen sports, as well as his personal friendship with hundreds of sportsmen and sportswomen. As a pioneer in American sportswriting, Rice helped establish and dignify the profession, sitting shoulder to shoulder in press boxes around the nation with the likes of Ring Lardner, Damon Runyon, Heywood Broun, and Red Smith.
Besides being a first-rate reporter, Rice was also a columnist, poet, magazine and book writer, film producer, family man, war veteran, fund-raiser, and skillful golfer. His personal accomplishments over a half century as an advocate for sports and good sportsmanship are astounding by any standard. What truly set Rice apart from so many of his peers, however, was the idea behind his sports reporting and writing. He believed that good sportsmanship was capable of lifting individuals, societies, and even nations to remarkable heights of moral and social action.
More than just a biography of Grantland Rice, How You Played the Game is about the rise of American sports and the early days of those who created the art and craft of sportswriting. Exploring the life of a man who perfectly blended journalism and sporting culture, this book is sure to appeal to all, sports lovers or not.
British playwright Howard Barker coined the term “theatre of catastrophe” to describe his unique brand of complex, ambiguous, and often unsettling drama. Revered in continental Europe, North America, and Australia as one of the greatest living dramatists working in the English language, Barker is also a celebrated poet, theater theorist, and painter. The first collection of interviews conducted with Barker, Howard Barker Interviews 1980–2010 covers his entire career and gives a strong sense of the life and work of this innovative dramatist.
Although the public viewed Hughes as a heroic and independent-minded trailblazer, behind closed doors he suffered from germophobia, obsessive-compulsive disorder, and an addiction to painkillers. He became paranoid and reclusive, surrounding himself with a small cadre of loyal caretakers. As executives battled each other over his empire, Hughes’ physical and mental health deteriorated to the point where he lost control of his business affairs.
This second edition includes more insider details on Hughes’ personal interactions with actresses, journalists, and employees. New chapters provide insights into Hughes’s involvement with the mob, his ownership and struggles as the majority shareholder of TWA and the wide-ranging activities of Hughes Aircraft Company, Hughes’s critical role in the Glomar Explorer CIA project (a deep-sea drillship platform built to recover the Soviet submarine K-129), and more. Based on in-depth interviews with individuals who knew and worked with Hughes, this fascinating biography provides a colorful and comprehensive look at Hughes—from his life and career to his final years and lasting influence. This penetrating depiction of the man behind the curtain demonstrates Hughes’s legacy, and enduring impact on popular culture.
Howard Nemerov - American Writers 70 was first published in 1968. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Howling for Justice actively engages with both the literary achievements and the politics of Silko’s text. It brings together essays by international scholars reacting to the novel while keeping in mind its larger concern with issues of social justice, both local and transnational. Aiming both to refocus critical attention and open the book to a broader array of readers, this collection offers fresh perspectives on its transnational vision, on its sociocultural, historical, and political ambitions, and on its continued relevance in the twenty-first century. The essays examine and explain some of the key points that readers and critics have identified as confusing, problematic, and divisive. Together, they offer new ways to approach and appreciate the text.
The book concludes with a new, never-before-published interview in which Silko reflects on the twenty years since the novel’s publication and relates the concerns of Almanac to her current work.
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